volume 39, number 2 winter 2013 isbn 1535-7724 rythmique (fier), a worldwide association of dalcroze...

Volume 39, Number 2 Winter 2013ISBN 1535-7724

The Dalcroze Society of America is a nonprofit corporation dedicated to the purpose of promoting the artistic and pedagogical principles of Émile Jaques-Dalcroze through educational workshops, publications, financial and consultative assistance, and the encouragement of local chapters throughout the United States. The Dalcroze Society welcomes musicians, dancers, actors, therapists, and artist-educators who study and promote the Dalcroze Eurhythmics approach to music learning and performance.

Included in membership is a subscription to the American Dalcroze Journal. The Society is affiliated with the Féderation Internationale des Enseignants de Rythmique (FIER), a worldwide association of Dalcroze teachers, headquartered at the Institut Jaques-Dalcroze in Geneva, Switzerland.

Submission deadlines for each volume year are September 15, November 15, and February 15.

The Journal accepts B&W advertisements Cost for 1/4 page, $25; 1/2 page, $50; Full page, $100. Sizes below. Contact the editor for placement availability, file preparation specs and delivery instructions. • 1/4 Page Vertical:

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Editor Kathy Thomsen • [email protected] • 651.523.2361 Hamline University, Box 229 • 1536 Hewitt Avenue • St. Paul, MN 55104Journal Design Emily Raively • [email protected] Art 18th Century Algiers images

The American Dalcroze Journal is published three times a year by the Dalcroze Society of America. The ADJ seeks to include scholarly, creative, and opinion-based articles pertaining to the study or teaching of the Method Jaques-Dalcroze and related disciplines. Articles and letters of varying lengths will be considered, and may be published in print, electronically (on the DSA website), or both. Submissions may be edited for style, content, or length. While timely submission of articles may allow for consultation with contributors, the Journal Editor reserves the right of final editorial decisions.

Articles should be submitted electronically to Kathy Thomsen ([email protected]). All submissions should be prepared according to MLA style guidelines, where appropriate. Contributors may include photographs and images, and are responsible for obtaining permission for photos or previously published material.

The views expressed in articles and letters do not necessarily represent those of the Dalcroze Society of America.

Visit our web site!www.dalcrozeusa.org

REGIONAL CHAPTERS

New EnglandContact: Adriana Ausch-Simmel333R Otis Street West Newton, MA [email protected]: Julia Schnebly-Black6548 Parkpoint Lane NESeattle, WA [email protected]: Marla Butke8181 Balloch Ct.Dublin, OH [email protected] (NY, NJ, CT)Contact: Michael Joviala206 St. Marks, 1RBrooklyn, NY [email protected] Rivers (OH, PA, WV)Contact: Stephen Neely525 South Braddock AvenuePittsburgh, PA [email protected]

PresidentWilliam R. BauerThe Department of Performing and Creative Arts (PCA), 1P-203The College of Staten Island/CUNY2800 Victory BoulevardStaten Island NY [email protected]

Vice PresidentJeremy DittusThe Dalcroze School of the Rockies1436 Elizabeth StreetDenver, CO 80206614.395.4722 [email protected]

Secretary and Scholarships Gregory RistowDePauw University School of Music605 S. College StreetGreencastle, IN [email protected]

TreasurerKathy Jones74 Lincoln AvenueArdsley, NY [email protected]

Membership Has Benefitswww.dalcrozeusa.org/membership

www.dalcrozeusa.org/resources/dalcroze-videos/

The videos from two National Conferences (2010 and 2012) are available on the DSA website for the use of DSA members. These videos are a wonderful resource for people who may not live near a Dalcroze training center—enabling participation in a class by watching the videos.

This is one of the benefits of membership, along with the Journal. Going to the video link will redirect you to the Join the DSA link if you don’t already have a member password.

If you are not already a member, we encourage you join the DSA through a local chapter. If there is no local chapter near you go to the national website.

Our membership process is now online. Please go to www.dalcrozeusa.org/membership to join or renew!

Volume 39, Number 2 — Winter 2013

“The game’s afoot!”Shakespeare, Henry V The ritual passage from one year to the next stirs a spirit of renewal that urges us onward, much as the anacrusis propels us across the barline, releasing a burst of energy on the fresh measure’s crusis. As we stride forward, I invite one and all to join us on several adventures that the New Year, and this New Year’s issue, hold in store. One of these has to do with our new position of part-time Administrative Assistant. The board created this position in order to fill our need for sustained attention to organizational operations. In December, the DSA hired Jessica Schaeffer to fill this role and I’m delighted to say (if you’ll

indulge some mixed metaphors that suggest fancy footwork) she’s already jumped into it both feet first and hit the ground running. She has already instituted some changes on the current website, which I hope you will take a moment to check out. Speaking of running, in her new capacity, Jessica will facilitate the smooth running of the DSA as a 501(c)(3) organization. Moreover, she will also help us accomplish several other key goals. As we generate excitement about new opportunities to study Dalcroze, for example, we also hope to generate fresh revenue streams to support our future growth. This issue of the ADJ includes her letter of introduction to the membership. In the month ahead, she will administer a member survey. I heartily encourage all to engage in this project, so the DSA’s actions going forward help us address the realities our members face as professionals. Please join me in welcoming her to this new role and in wishing her success in her endeavors on our behalf. Regarding another journey we’re taking, the board has embarked on the daunting yet rewarding process of upgrading our website’s user interface (or front end), inspired by the remarkable work Gregory Ristow has done on our website’s server side (or back end). In order to assure that this key electronic tool reflects our vision for the organization, the board is reconsidering and reframing the DSA’s mission, articles of governance, and bylaws. In many ways, the organization has already moved beyond boundaries set forth in these documents. The board’s reassessment of where we are and where we are headed is fully under way, and these initial steps will lead us to a better idea of how to represent our professional community’s national organization online. One feature of the website may change in direct response to new information advanced here in this issue of the ADJ, in an essay about the roots of Dalcroze’s unique educational approach. As posted on our website, the History of Dalcroze claims that it was when he was a professor of harmony and solfège at the Conservatory in Geneva that Emile Jaques-Dalcroze first developed his means of studying music through movement.1 Byron Katie asks people, “Who would you be without your story?” In a similar spirit, I ask in this essay: Does the standard account of rhythmic education’s genesis adequately account for Dalcroze’s “Radical Departure” from conventional methods of training musicians? Without disclosing the answer, I can attest that another journey is involved in this essay – not a figurative one, but rather an actual one, to an exotic locale. In another essay in this issue, Anne Farber’s “Dalcroze in America – the Next Steps,” the author exhorts us to take constructive actions that will bring us together as a community. I heartily agree with her message. Something in the wording and rhythm of her opening line brought to mind Walt Whitman’s “I Hear America Singing.” In that poem, which evokes the varied carols and strong melodious songs Americans sing “with open

President’s Letter

1 As the story goes, when he “realized that his students could not actually hear the harmonies they were writing,” and noticed that “their playing showed little sense of rhythmic vitality,” he devised “ear training games that sharpened the students’ perceptions” and helped them “develop more acute inner hearing.” These games, which “capitalized on [their] natural, instinctive gestures,...resulted in more sensitive responses to the musical aspects of performance: timing, articulation, tone quality, and phrase shape.” From these games, the students’ bodies became “conscious of the life and movement of the music.” In a sense, the game literally was “afoot”!


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President’s Lettermouths,” the poet paints a picture of individuals united in their diversity. His call to be true to oneself still has special resonance for us American Dalcrozians, who have thus far practiced our craft with a relatively high degree of autonomy. But as Anne suggests, even as each of us sings “what belongs to him or her and to none else,” we also need to strengthen the connections that hold us together, so we can function more effectively as a community. Inaugurating a new term in office, President Obama echoed similar sentiments, reassuring Americans that, even as we work together to form and fulfill a shared vision, each of us can also remain true to him- or herself. His words have particular salience for the DSA at this juncture in our history. Because “outworn programs are inadequate to the needs of our time,” being true to our founding principles “requires new responses to new challenges.” However, it “does not require us to agree on every contour of life [or art]. It does not mean we all define liberty [or eurhythmics] in exactly the same way or follow the same precise path...Progress does not compel us to settle [all longstanding] debates; [but] it does require us to act in our time. And act we must, knowing that our work will be imperfect; knowing that today’s victories will be only partial....” His inspiring thoughts apply to the task that lies before us Dalcrozians, as we define what it means to cohere into a community of practice. I look forward to the journey we will take together, wherever it leads us, this year and beyond. Sincerely,William R. Bauer, Ph.D.

For registration, college credit verification, and other info, visit us at:

www.oake.org/conferences

Children’s Choir Conductor Susan Brumfield

Youth Choir Conductor

Janet Galván

Concert Women’s Choir Conductor

Martha Shaw

Chamber Ensemble Conductor Ellen Voth

Friday Late Night Jazz

Saxophonist Mike Cohen and his trio

Organization of American Kodály Educators National Conference

March 21-23, 2013 Hartford, CT

National Conference Business Director OAKE National Office – Interim Administrative Director Nancy Johnson – [email protected] Gary Shields – [email protected] 10951 Pico Blvd, Suite 405, Los Angeles, CA 90064 National Conference Program Chair Phone - 310.441.3555 Fax - 310.441.3577 Donna Menhart – [email protected]

Mini-Conference Mollie Stone & Patty Cuyler

Keynote Speaker Peter Boonshaft

Opening Concert The Hartt School Chamber Choir

Edward Bolkovác, Director

Invited Guest Presenters John Feierabend

Gábor Virágh Stuart Younse

Friday Night Entertainment

Work o’ the Weavers


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Radical Departure: Where did Emile Jaques Get the Idea of Rhythmic Education? By William R. Bauer

IntroductionEmile Jaques-Dalcroze developed a way of teaching music that challenges several of Western culture’s core assumptions. How did he arrive at his unique teaching approach? Here is the standard narrative:

While Professor of Solfège…and Harmony at the Geneva Conservatory of Music, he was both interested and troubled by his students’ rhythmic problems. He noticed that one of his students, despite his musical problems, was capable of walking rhythmically. His observation caused him to conclude that people possessed musical rhythm instinctively, but did not transfer these instincts to fulfill their musical needs. This realization marked the beginning of his experiments with rhythmic exercises stepping to the music (Wax, 1973: 3).

Other writers have promoted this idea, in the belief that Dalcroze conceived of rhythmic education when confronted with his conservatory students’ unmusical performances. For example, Virginia Hoge Mead suggests that he was building on instinctive features already present in his students’ behavior:

While Dalcroze experimented with solfège aural training exercises, he noticed that his students instinctively accompanied their responses with movement. Their singing seemed to set in motion a muscular response – tapping a foot, nodding the head, swaying from side to side, or gesturing the beat or phrase with a hand (Mead, 1994: 1).

Saying: “it is difficult to pinpoint the exact beginnings of Jaques-Dalcroze’s unique approach to music education,” Robert Abramson qualifies his assertion; but then abides with the received wisdom by adding “possibly it can be traced to his appointment at age twenty-five, as professor of harmony and solfège at the Conservatory of Music in Geneva” (Abramson, 1986: 27). Two key ideas inform the standard narrative: first, an instinctual rhythmic gift lies dormant within all human beings; and second, established methods of conventional musical education give inexpressive students no way to release this gift in their performance of musical compositions.

Repeating the received wisdom, Claire Elise-Dutoit then takes it a step further, arguing that Dalcroze was going for something far more substantial than merely the improved musical performance of written music:

In 1892 Emile Jaques-Dalcroze was appointed professor at the Conservatoire in Geneva, where he was to remain for eighteen years. The first years of his teaching were a long period of gestation, eventually giving birth to one of those rare educational doctrines, seeking total integration of the human being (Dutoit, 1971:1).

She complicates the picture, however, by suggesting that we can trace the origin of these methods as far back as Jaques-Dalcroze’s late adolescence:

In 1903, when he presented Eurhythmics, it had already been in his mind for twenty years. Ever since he had emerged from the ‘underground’ of College life, his attention had turned to the arts with all the ardour and enthusiasm of those who serve a well-loved cause.

William R. Bauer


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She then adds that, regardless of how far back we look, we will find that “he had never wavered in his ideal” (Dutoit, 1971: 1-2). In retrospect, it is not hard to find ways Dalcroze’s childhood experiences laid the groundwork for his later passions; but at what point did his notions about the “total integration of the human being” begin to take shape?

A Different PerspectiveIn the last few decades, an alternative perspective on the roots of Dalcroze’s approach has started to emerge in the literature, one that emphasizes the importance of a key piece of information about his life and career. In the fall-winter of 1886-87, after receiving a relatively conventional music education in the Western art music tradition, the twenty-one year-old Emile Jaques accepted a position as assistant conductor of a theater orchestra in Algiers. Born in Vienna and raised in Geneva, the adolescent Emile had thus far enjoyed a comfortable upbringing with little exposure to people or cultures outside of his bourgeois realm of experience (against which he found novel ways to rebel). In order to step into the necessary frame of reference, let us try to forget what we know about anthropology and ethnomusicology, two sciences that were yet in their infancy at this time, and American popular music—which has effectively Africanized global popular culture and forever transformed the way Europeans and their descendants think and feel about non-Western music—and imagine ourselves fellow innocents abroad, taking this journey to the French colonies with this courageous, yet callow, young man.

In the latter half of the nineteenth century, when European imperialism was in its heyday, there was no brooking the assumption of Western culture’s moral and aesthetic superiority, and its right to global expansion. To someone fresh from his studies in Paris, North Africa may have seemed a relatively wild part of the globe. Perhaps in this light, the fact that Emile Jaques would have even considered venturing off to a distant land should come as something of a surprise. We know that he did so at the urging of a dear friend named Ernest Adler, a fellow composer whom he considered highly gifted (Spector, 1990: 13; Brunet-Lecompte, 1950: 54). At this time in his life the idea of striking out on his own surely must have excited him; but there is also no doubt that little from his Calvinist childhood had prepared him for some of the sights and sounds he would encounter there.

While many writers have virtually ignored or minimized the significance of Jaques-Dalcroze’s excursion to foreign soil, some have suggested that experiences the young Emile Jaques had during the short time he spent in North Africa were formative—so formative, in fact, that they contributed significantly not only to his maturity as a person but also to the development of his pedagogical ideas. According to Schnebly-Black and Moore, accepting the post in Algiers “proved to be one of the most fortuitous moves of his career” (1997: 5). By suggesting that we can trace the beginnings of Eurhythmics to this time, these authors challenge the conventional narrative. While in Algieria,

Dalcroze made several other discoveries that further impacted his teaching. He was impressed by how comfortable the native Algerians were with odd meters. These involved, for example, five- and seven-beat time. The Algerians also naturally adapted to irregular changes in meter and had a remarkable sense of accelerando and ritardando. He reasoned that these rhythmic sensitivities could become natural to musicians in Western Europe if they were cultivated in students at an early age (6).

Others have reflected the literature’s shift in perspective. Referring to the “Petite histoire de la Rhythmique” Dalcroze wrote for in Le Rhythme (Jaques-Dalcroze, 1935: 3-4), Marja-Leena Juntunen writes:

When studying orchestral conducting and working as an assistant musical director in the opera of Algiers in 1886, Jaques got acquainted with complicated rhythms and irregular meters of Arab music. He was impressed by the rhythmic sensitivity of Algerian musicians and started to think that a Western musician could also attain such capacity through systematic rhythmic education starting at an early age (Juntunen 2004: 22)


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José Rafael Maduriera describes in his doctoral thesis written for Brazil’s University of Campinas how Jaques-Dalcroze

marveled at the lushness of the French colony, situated between pristine beaches and exotic mosques, devoured the oriental flavors, drank mocha, smoked chifa, and closely observed the magical rituals of Africans [Arabs], and watched the contortions of their dances and especially the rhythmic vivacity of their songs (Maduriera, 2008: 48).

He then concludes: “at that time, under Dionysian inspiration, Dalcroze conceived his musical education system.”1 Apparently solely on the basis of this source, one author has even gone so far as to claim “Jaques-Dalcroze declared that his education system, especially with regard to the use of polyrhythms, the bare feet, and the rhythmic irregularity, was created in Algeria!” (Ribiero, 2012).2

Which of these stories is true? And why does it matter?Did the idea of using movement to teach music emerge full-blown from Dalcroze’s head when he was a conservatory professor? Or did he realize that music might be taught differently from the way he learned it when, at an early stage in his development as a musician and pedagogue, he encountered strikingly different musical practices in another part of the world? Related to this question, is it possible to fathom the effect the young composer’s exposure to non-Western classical and traditional musics, which he experienced in Algiers and the surrounding region, may have had on his thinking about music and its relationship to society? And, finally, which narrative offers the strongest explanation for Dalcroze’s innovations in educational pedagogy, which constitute a radical departure from conventional music education?

To answer these questions, lets us first consider what some of his biographers have written. In the year Dalcroze died, Hélène Brunet-Lecompte wrote that Jaques-Dalcroze “is fascinated with Arab music and its diverse rhythms” and that he “never misses a chance to observe them” (1950: 56). Citing Dalcroze’s own account in Souvenirs, Notes et Critiques, Alfred Berchtold assigns great significance to the experience: “Above all, Jaques has the opportunity to study the music of the country. And this is very important” (1965: 31). In their descriptions, provocative details emerge that flesh out our impression of the youthful musician at this time. For example, referring to a letter Emile wrote to his sister from Algiers, Berchtold writes: “to give himself a more respectable air…he grew a beard and adorned his nose with eyeglasses, the lenses of which were only ‘window glass’” (Berchtold, 1965:31). Dalcroze instituted other, more substantial changes that reveal his emerging sense of identity. At the advice of his publisher, for example, he changed his last name in order to avoid confusion with another composer who shared his surname, signaling a greater degree of independence from his family of origin. The changes in appearance and in name hint at transformations that were taking place on a deeper level.

From these and other descriptions it is clear that acknowledgment of Dalcroze’s time abroad is not new; rather it is recent authors’ willingness to allow that non-Western expressive culture could have had a beneficial influence. For example, as early as 1915, Michael Sadler—building on Karl Storck’s biographical research—writes: “For a short period his studies were interrupted by an engagement as musical director of a small theatre in Algiers—an opportunity which he used for study of the peculiar rhythms of Arab popular music, which he found unusually interesting and stimulating” (Sadler, 1915; Storck, 1912). Thus while Sadler recognizes Dalcroze’s exposure to and curiosity about the local “popular music” (there is no way to interpret what he means by this term, but surely it’s not meant as praise), his implication that the composer’s encounter with non-Western music constituted a

1 The original Portuguese reads: Para Dalcroze, o seu sistema de educação musical foi concebido naquele momento, sob inspiração dionisíaca. Maduriera is freely paraphrasing a letter excerpt that Brunet-Lecompte quotes (1950: 60).

2 Jaques-Dalcroze chegou a declarar que seu sistema de educação, principalmente no que se refere à polirritmia, aos pés descalços e à irregularidade rítmica, fora criado na Argélia.


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mere “interruption” of his formal musical training implies not only that it had little discernable impact on his development, but that it was somehow a distraction from the more important matter of writing, publishing, and performing art works cast in the Western musical tradition. On closer examination, this ethnocentric perspective, so pervasive that it has shaped the narrative about Dalcroze’s development of rhythmic education, proves inaccurate; worse, it has weakened our grasp of his contribution and its significance.

A misleading sourceIrwin Spector’s account has probably had the greatest impact on English language readers’ perception of Dalcroze’s Algerian sojourn and its signficance. In his biography Spector goes out of his way to actively discourage readers from assigning importance to Jaques-Dalcroze’s North African travels, especially with regard to the development of his distinctive pedagogical ideas. “It would be tempting to surmise that Emile studied Arabic rhythms carefully, thus establishing a base for his later rhythmic developments. Apparently this was not the case” (Spector, 1990: 13). Spector accedes that Dalcroze was “intrigued by their [Arab’s] execution of complicated rhythms” (13) and allows vaguely that “the Algerian experience taught Emile to think in different terms than he had been trained to do as a matter of habit” (14); but he creates the distinct impression that, in his expert judgment, Dalcroze’s exposure to Arab musical culture left few traces on the pedagogue’s thinking and later actions.

Tucked in the back of the biography, where he cursorily summarizes Dalcroze’s recollections from Souvenirs, Notes et Critiques (Paris 1942), Spector mentions in passing Dalcroze’s reflections on his African experience: “Rhythmic curiosity, he states, was born in him when he served as a conductor in Algiers; the Arab percussion instruments and rhythm left indelible effects” (284). However, he mistranslates the passage, leaving out a key word. In the original, Dalcroze writes: Ma curiosité des manifestations rhythmiques est née au cours d’une saison que j’ai passé en Algérie...


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[my emphasis] (Jaques-Dalcroze, 1942: 39). By Dalcroze’s own account, it was his interest in rhythmic expression that was awakened, not merely in rhythm, per se. In any event, by the time we get to this passage, the author has already led us to accept his mistaken judgment that Algiers did not play a key role in Dalcroze’s conception of rhythmic training.

Weighing the evidenceWhat reason does Spector offer for his interpretation? First, he suggests, incorrectly, that rhythm is a relatively unimportant element in Arab music, in part because it lacks Western tonal harmony (14). He then submits that Dalcroze’s innovations had little to do with Arab music’s rhythmic features. Seeing no literal relationship between the rhythms Arab musicians perform and Dalcroze’s educational approach, Spector discounts the possibility that, even if such rhythmic elements from Arab music did not carry over directly, other aspects of the composer’s experience in Algiers, aspects that resonated deeply, led to significant insights about music, culture, education, and life. Could these aspects have had an impact on his thinking about people’s musical enculturation and its potential for promoting “the total integration of the human being?” Spector implies that Dalcroze had insufficient opportunity to encounter non-Western traditional musics while in Algiers (13). The novice conductor’s work entailed teaching local musicians Western art music in a city that had been flooded with European settlers during French occupation. However, this does not mean that he lacked exposure to traditional Berber music, or that of the region’s various Muslim sects; nor would he have had to become a ghaita player to evidence some measure of influence.

In his own wordsWhat did Dalcroze himself have to say about his experiences in North Africa, and the impact they had, both on him and on the development of his ideas? One wishes he had written much more about them. Nevertheless, what he did write gives us several tantalizing clues that suggest he himself valued the time and accorded it more weight in the development of his system of teaching and learning than has been generally granted.

Two years before he died, reflecting back on his life, Jaques-Dalcroze wrote:

I often think about my winter stay in Algiers and its influence on my career. I was employed as assistant director at the ‘theater of novelties.’ In the absence of teachers, I could have musical, pedagogical, and scenic experiences on my own. It was then that I learned self control, how to adapt to events, and also to recognize the value of Arab rhythms (Jaques-Dalcroze, 1948: 20-21).

In addition to the increased self-reliance he developed while away from home, a common enough outcome of a young person’s time abroad, he also came to appreciate Arab music and, in particular, its rhythmic component.


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Dalcroze’s recognition of “the value of Arab rhythms” undermines the idea that Dalcroze left the Maghreb relatively untouched by its musical charms. If that were so, why would the rhythms have captured his attention? And why would he hint at the experience’s influence on his career?

Alfred Berchtold reports on remarks the composer once made to the conductor Fernand Gigon:

Ah yes! the origin of my rhythmics! I’m conducting a native orchestra. What strikes me strangely was the sense of harmony of my musicians. Although the music that I was teaching them was at four beats, the cymbal players, for example, used five, the flute players three...It was impossible for me to discipline them and to instill in them our [Western] methods. In order to teach the notation of our rhythm, I had the idea to have them perform each beat by a gesture. Also my musicians, before playing, marked the rhythm wanted on a tambourine (32)

Possibly drawing upon information provided in Gigon’s own writings (1942), this account has the ring of truth. The use of bodily gestures to aid students in their efforts to read European rhythmic notation and having students play a rhythmic phrase on a hand percussion instrument before taking it to an instrument that plays definite pitch are both practices eurhythmics teachers use to this day, inspired by Dalcroze’s example—embodied practices that would no doubt have horrified his straight-laced instructors back at the conservatoire in Geneva. The quote opens up the possibility that Dalcroze himself attributed the origin of rhythmic education to pedagogical experiments he made in Algiers, in direct response to difficulties Arab musicians faced while performing from written music, and not to those of the European students he would teach some five years later.

Having received an ordinary Western musical education, where would Dalcroze have gotten the idea to try these novel techniques? Could his exposure to Arab musical practices have had some effect? Summing up the contents of a letter Dalcroze wrote to his sister, Hélène, Dalcroze’s biographer mentions that the composer embarked on a concert tour that took him into regions surrounding the capital:

Toward the end of the season difficulties arose during which the theatre manager was unable to pay his musicians. To recoup funds they organized an ensemble which included Jaques-Dalcroze and they set out to give concerts in other areas. The tour took them to Medea, Hamman, Khiva, Miliana, Blida, and Constantine, and included a return to Algiers for an additional concert. The itinerary covered an area of 60 miles to the south of the capital city and almost 200 miles to the east (Spector, 1990: 15).3

In this letter, from which Brunet-Lecompte quotes substantially (56-57), Dalcroze goes into detail about the richness of various experiences he had on this tour; unfortunately he fails to inform us of his musical encounters. More than in Westernized urban areas, Dalcroze would have had a chance to encounter Arabic influences in the outlying regions to the east, south, and west, in the mountains, for example, where Berbers sustained their traditional practices against incursions from Western conquerors.

In Souvenirs, Notes et Critiques, while discussing his influences and reflecting on the general impact his travels had on his developing sense of himself as a person and as an artist, Dalcroze makes reference to his time in Algiers:

Different climates, unforeseen [events] during travel, the disclosure of beauties undreamed of and also the ambiance of a new social milieu can stimulate the artist’s creative activity; not to mention the influence of the vibration of the trains and autos on the circulation of the blood and nervous energies, I realize that the revelation of the unknown stirs up our fantasies and that the discovery of works of art of a new style

3 Most of the sites mentioned are southwest of Algiers, with Miliana being roughly 70 miles away; Constantine is actually over 250 miles from Algiers.


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strengthens our aesthetic equilibrium. I was able to notice after each of my very numerous sojourns that I made in a foreign country a certain difference in the way of my talking musically. My curiosity in the rhythmic expressions was born during one season that I spent in Algeria as conductor. I found there many occasions to interact with Arab musicians and to study the dissociations of their percussion instruments (Jaques-Dalcroze, 1942: 39)

Echoing what he told Gigon, Dalcroze explicitly states that the opportunities he had to engage with local musicians and explore the way they interacted musically gave birth to his curiosity in rhythmic expression, the centerpiece of his pedagogical system. The term “dissociations” (the original French) may be a reference to the polyrhythms upon which certain religious groups, such as the Aïssawa, built their music.

The key here, I think, is that Dalcroze links his growth as an artist to the expansion of possibilities that his Algerian sojourn and other travels opened up. It was not merely “rhythmic curiosity” that was born in Dalcroze, but rather a profound wonder at his newly awakened expressive language and creative powers, “a certain difference in the way of my talking musically.” It seems likely that, overcoming the physical segregation of Arabs, Dalcroze sought out their company in Arab enclaves located in the ancient, labyrinthine, walled citadel within the city—perhaps visiting the mahchachat, or cannibis dens—(Magrini, 2003:212).4 In light of the wealth of experiences he had, his exposure to Maghreb culture clearly had a transformative impact on him in more ways than one.

In La Musique et Nous, he gives us more detail about some of the powerful experiences he had among the Aïssawa, a sect of Sufiism that incorporates non-Islamic elements in its ritual:

I had the good fortune of again finding these rhythms in Algeria, where I heard lots of Arab music and was able to attend an Aissaohahs [Aïssawa] festival of Muslim fanatics; their dance excites them to such a high degree that they become invulnerable, sprawling on the burning coals and laughing at knife wounds, bites, and injuries made by blunt instruments. Their rhythms are always binary, but the number of their repetitions is varied. At a scansion of four measures of two beats follows a series of seven or eleven, etc. Their dances are extremely violent, their leaps and contortions of an extraordinary originality and their instinct of acceleration is wonderfully developed. Their dance little by little becomes animated accompanied by a crescendo of tom-toms. The accelerando becomes intense and produces a diabolic effect, completed by the sudden silence that follows and during which the dancers allow themselves to fall to the ground. (Jaques-Dalcroze, 1945: 19-20)

He revisits a comparable memory in Notes Bariolées, perhaps even the one described above, drawing further insights of a more spiritual character:

The dances of certain small tribes are marked with an extraordinary feverishness. The boisterousness and persistent sonorities of the tom-tom relieve the tired minds of all inner anxiety, then, little by little, the bodies go into trance and the awakened consciousness takes on a religious appearance (Jaques-Dalcroze, 1948: 96).5

What stands out in this recollection is the association Dalcroze makes between rhythm—and, in particular irregular metric impulses—and the non-rational aspects of human expressive behavior. Perhaps it was to these descriptions that Schnebly-Black and Moore were referring when they considered the impression native Algerians’ “odd” meters made on Dalcroze. Of course, to Arab musicians such aperiodicity of different levels of pulsation, from beat to meter to phrase—as well as their intuitive capacity for accelerando—would have been normative, whereas the foursquare harmonic phrases of much Western music would likely have struck them as odd. No wonder, then, that the freshly bearded, newly bespectacled youth had some measure of trouble in

4 In his comment about smoking chiba, cited by Maduriera above, it is unclear what substance Dalcroze is referring to.5 See also Rouget, 1985: 313.


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“disciplining” his charges to stay in four beat time and instilling unfamiliar Western musical practices.

Given the rhythmic complexity of their music, it was clearly not from lack of skill in this dimension. Indeed, on the basis of this information Schnebly-Black and Moore conclude that, “philosophically, [Dalcroze] conceived of the Algerians’ performance of rhythm as representative of a deeper human impulse to express the irrational nature of emotion and feeling. He believed that incorporating these irregular rhythms into his teaching would heighten students’ awareness of their inner sentiments.” Significantly, they add:

“[Dalcroze] reasoned that these rhythmic sensitivities could become natural to musicians in Western Europe if they were cultivated in students at an early age” (Schnebly-Black and Moore, 1997: 6). In tracing a direct link between substantial elements of Dalcroze’s philosophy and his Algerian friends’ rhythmic instincts, Schnebly-Black and Moore highlight the powerful connection Dalcroze made between kinesthesia and emotion, and between formal musical education and the process of enculturation.

On Dalcroze’s own account, then, it would seem that the standard narrative of his method’s genesis is misguided, in emphasis and in fact; the key realizations that “marked the beginning of Dalcroze’s experiments with rhythmic exercises stepping to the music” (Wax 1973: 3) did not occur to him at the conservatory in Geneva, but some five years before, in an entirely different part of the world. However, these realizations enabled him to notice upon his return to familiar terrain that, unlike the non-Western ethnic groups Dalcroze met in North Africa, Westerners could not “fulfill their musical needs” by transferring their rhythmic instincts into expressive musical performance.

At the heart of Dalcroze’s realizations is the observation, traceable to Jean-Jacques Rousseau, that in disconnecting their minds from their bodies, Western people’s intellectual development had disconnected them from their natural instincts. Hence, when James Lee observes that, in Algiers, “Jaques-Dalcroze first heard Arabian rhythms, and saw them interpreted by human bodies” he is highlighting the challenge to the mind/body duality Dalcroze’s North African experience posed to a young mind initially preconditioned to Western cultural values (Lee, 2003: 13). The fact that those bodies, enlivened by human hearts and minds, were not inhibited by Western cultural constraints, did not escape Dalcroze’s keen eye for observation or his astute intellect.

His Algerian experiences opened Jaques-Dalcroze up to others like them, ones to which he otherwise might not have been as open, and he added to the store of impressions from which he would develop his distinctive approach. In a Hungarian village, for example, where a gypsy orchestra gathered to perform the famous rhapsodies of Liszt, he witnessed similar musical accelerations (Jaques-Dalcroze, 1945: 19-20). He recounts other experiences of non-Western music such as the Arab orchestras he heard at the Paris Exposition in 1889. At the Colonial Exposition in Wembley (London), he delighted in the Burmese orchestra’s triumph: “their crystalline sonorities were determined by rhythmic accentuations alternating at 5 and 7 beats” (Jaques-Dalcroze, 1945: 19-20). One wonders, had he missed the chance his Algerian travels gave him to immerse himself in the starkly different world of North African culture, would he have appreciated these qualities, so outside the norms of Western art music?


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Elsewhere, perhaps referring to the latter experience, Dalcroze makes a critical point: “The Burmese dances are singularly suggestive and the powers of invention of the dancers are prodigiously developed. Many of their movements are improvised and their combinations match intimately with those of the accompanying instruments” (Jaques-Dalcroze, 1948: 96). In devising his teaching approach it is doubtful that he got the idea of intimately matching improvised music and improvised movement from Western musical practice. As Robin Moore points out:

in the past hundred and fifty years attitudes towards improvisation in Western classical performance have changed drastically. The mandates of compositionally specified interpretation now supersede those of the instrumentalist. To many, improvisatory expression seems threatening, unfamiliar, or undeserving of interest. This radical shift in performance aesthetic has occurred without incident and virtually without documentation (Moore, 1992: 63).

Dalcroze prioritized improvisation as one of the three legs of his method, making perhaps one of his most substantial contributions to music education—and to dance, through the work of Mary Wigman and others (Manning, 2006). Critical inferences Dalcroze made about the interconnections between mind and body grew from their manifestations in Burmese music and dance, and in Sufi rituals he witnessed in Algeria. As Dalcroze himself stated: “Rhythmic gymnastics tries to establish connections between instinctive bodily rhythms and rhythms created by sensibility or by reasoned will” (Jaques-Dalcroze, 1945: 158; quoted in Lee, 2003: 163).

Conclusions and ramifications for teachersBy setting the above passages from Dalcroze’s writings in relation to each other, we can see that his exposure to non-Western cultures in North Africa, while brief, transformed him, affecting his thinking about himself, about music, music education, and the relationship between music and culture. To an extent widely unacknowledged, Jaques-Dalcroze’s education “in and through music” derives from his time in Algiers, where he encountered people and music that shifted him away from the conventional Western model of music making as the instrumental performance of written or printed musical works. The importance of improvisation in Dalcroze’s approach owes in part to the connections he made with Arab musicians and the opportunity these relationships gave him to learn more about their approach to music making and rhythm.

Several other elements of non-Western music culture may have influenced him. For instance, his exposure to participatory music cultures that integrate dance and music in an all-encompassing experience may have guided him and Adolphe Appia in their approach to the design of the Festspielhaus in Hellerau and the uses to which they put the space within. There was no stage or proscenium arch, for example, to mark a separation between audience and performers (Birringer, 1998:40). The Dalcroze experience is one that offers music as a mode of interacting among participants, in addition to music as a mode of presentation. In North Africa, he encountered music not as something apart from daily life, but rather as a cultural force, an activity woven into the fabric of life, shaping human development, and individual and national character. He encountered vibrant rhythm, improvised on percussion, to incite bodily movement. He encountered the sensuality of cultures quite different from the bourgeois Calvinist Genevoise society of his parents; perhaps as Flaubert did in Egypt, the young Genevan may have unleashed some of the sexual impulses that Europeans learned to repress from an early age (Toepfer, 1997: 83; Gil, 2005: 221-22).


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The intellectual soil in which these rare seeds took root and blossomed was laid by another citizen of Geneva, Rousseau, whose fame as an enlightenment thinker has overshadowed his contributions in other areas, particularly in education and in music. A music copyist and sometime composer, Rousseau wrote an influential treatise on education (Rousseau, 1764), the title of which could very well have inspired Emile Jaques’ parent’s choice of first name for their son. Adding the suffix Dalcroze to his surname, Emile turned Jaques into a middle name, echoing the rhythm of Jean-Jacques Rousseau’s name in his. Rousseau’s investigation into human nature took many forms, not least of which was his belief in the interlaced origins of speech and music, which evolutionary musicologists are reconsidering as the “musilanguage” hypothesis (Mithen, 2006; Cross, 2003). Rousseau believed that European civilization paid a huge price for its sophistication and extolled the virtues of “natural man.” While his depiction of natural man has been demonized as a reduction of non-Western cultural groups to “noble savages,” Rousseau understood that European culture’s development put it at risk of forgetting fundamental aspects of the human experience to which traditional non-Western cultures still had access (Rousseau, 1764).

It is in the context of this understanding, transmitted throughout Europe in Rousseau’s writings, that Jaques-Dalcroze’s encounter with North African traditional ethnic cultures and their music may have resonated in the young composer. Dalcroze paid the highest compliment to the non-Western cultures he encountered in Algeria by integrating into his methods such features of their music as embodiment, entrainment, and the transferable intentionality that improvisation makes possible—features Ian Cross has put forward as fundamental to a global definition of music, which runs counter to the narrow Western conception of music as autonomous, organized sounds (Cross, 2009; Cross and Ghofur, 2009)—features that helped Dalcroze bring about a re-unification of music, speech, and movement in Western educational practice.


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Stepping into the non-Western musical world that North African culture offered up to him opened the impressionable Emile Jaques up to the possibility that, in forsaking the verbal-musical continuum, rhythmic movement, and improvisation, the written art music aesthetic of the West had disconnected itself from fundamental human ways of being and knowing. When considered from a global perspective, his conservatory students’ difficulties performing written music on their instruments pales in significance to this larger question of what, in fact, constitutes music. That said, Dalcroze’s innovations in educational pedagogy give Western musicians access to their artistry precisely because they shatter the narrow conception of music to which many still cling. Indeed, these innovations continue to experience resistance in educational institutions primarily because music educators steeped in the Western tradition insist upon teaching music as a pure or absolute art “for art’s sake,” music read from the page, and played on instruments, rather than as an interactive medium in and through which we may engage one another directly in the rich interpersonal web of culture—the way most people on planet earth have used music and continue to do so. To the degree that we buy into the conventional model of what music can be and what it can do for all human beings, we fail to realize the promise of rhythmic education as a humanizing practice.

The question of where Jaques-Dalcroze got the idea of rhythmic education touches upon another, one more consequential for Dalcroze practitioners: What factors led him to develop such a distinctive approach to music education? From surveying his early influences it seems clear that many factors shaped the direction Jaques-Dalcroze would take; his unique means of guiding students to realize their innate musical potential and achieve greater creativity, musicality, and artistry did not stem from only one source. However, while the accepted


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narrative points to the failure of conventional music education to address students’ inability to communicate with listeners through music, it does not go far enough to explain how Dalcroze arrived at such a strikingly different way of eliciting their expressive responses. Because conventional educational practice prevails to this day, the answer has ongoing relevance for those who practice rhythmic education. Understanding the role non-Western music played in Jaques-Dalcroze’s creation of rhythmic education helps us also see why his approach has wider application, beyond the training of professional classical musicians—why it can serve as a tool for helping all people bring their innate musical gifts to fruition.

As we know, forever altered by his experience, Dalcroze cut short his season abroad and came home to Europe. There, in Vienna, he worked successively under the guidance of Bruckner, Prosnitz, and Graedener; and, when he returned to Paris, he received the “admirable counsel” of Faure, Delibes, Mathis Lussy, and Eugene Ysaÿe (Jaques-Dalcroze, 1948: 20-21), absorbing other lessons that would prove critical to his formulation of rhythmic education, both in theory and in practice. But in the winter of 1887, this course of events was not a foregone conclusion. None of these encounters—and the historic developments that ensued from them—would have happened had he not made a crucial decision, a decision that ultimately confronts many young people sojourning abroad, enraptured by the eye-opening wonders of foreign landscapes and seduced by the limitless possibilities these seem to open up:

At the end of the season I was offered the position of director of the conservatory. Before I responded, I consulted an excellent pastor, Rocheblave, who advised me not to accept, saying: ‘If you stay in Algeria, you will not find in that lazy city the means to perfect yourself in your career, and you will feel a decrease of your creative faculties. Return to the continent and resume your studies!’ (Jaques-Dalcroze, 1948: 20-21).

Many thanks to Selma Odom, Hélène Nicolet, and Audrey Schaffer for their assistance with the research that went into this essay, and to Michael Joviala and Anne Farber for their comments on early drafts. Of course, I take full responsibility for any errors of fact or emphasis.

Sources

Abramson, Robert (1986) The Approach of Emile JaquesDalcroze in Choksy, L. et al (1986) Teaching Music in the Twentieth Century. Englewood Cliffs, NJ: Prentice Hall.

Berchtold, Alfred (1965) Èmile Jaques-Dalcroze Et Son Temps in F. Martin, T. Dénes, A. Berchtold, et al. (Eds.), Emile Jaques-Dalcroze: L’Homme, Le Compositeur, Le Créateur de la Rythmique. Neuchâtel, Switzerland: Editions de la Baconnière.

Birringer, Johannes H. (1998). Media & Performance: Along the Border. Baltimore, MD: John’s Hopkins University Press.

Brunet-Lecompte, Hélène (1950). Jaques-Dalcroze: sa vie, son oeuvre. Genève: Edition Jeheber: 54-60 (Preface by Paul Chaponnière).

Celik, Zeynep (1997). Urban Forms and Colonial Confrontations: Algiers Under French Rule. Berkeley: University of California Press.

Cross, Ian (2003). Music and biocultural evolution. In The Cultural Study of Music: A Critical Introduction (eds. Martin Clayton, Trevor Herbert, Richard Middleton), Routledge, 2003, pp19-30).

Cross, Ian (2009). The evolutionary nature of musical meaning Musicae Scientiae Special Issue: 179-200.

Cross, Ian & Woodruff, Ghofur Eliot (2009). Music as a communicative medium. In R. Botha & C. Knight (Eds.), The Prehistory of Language (Vol. 1, pp. 113-144). Oxford: Oxford University Press.

Dogantan-Dack, Mine (2002). Mathis Lussy: a pioneer in studies of expressive performance. Oxford: Peter Lang (Varia Musicologica).

Dutoit, Claire-Lise (1971). Music, Movement, Therapy. Aylesbury, Bucks: Hazell Watson & Viney Ltd.

Ferand, Ernest T. (1914). Dalcroze-Schule Hellerau : in der Gartenstadt Hellerau bei Dresden ; Musikalische Erziehung durch Körpergefühl, Körperbildung aus dem Geiszte der Musik [publisher unknown.]

Ferand, Ernest T. (1938). Die Improvisation in Der Musik; Eine Entwicklungsgeschichtliche Und Psychologische Untersuchung (Zurich: Rhein).


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Ferand, Ernst (1961). Improvisation in Nine Centuries of Western Music: An Anthology with an Historical Introduction. Series Title: Anthology of Music, ed. K.G. Fellerer. Köln: Arno Volk Verlag.

Gigon, Fernand (1942). De tels hommes; Corbusier, Dalcroze, Grock. P.F. Perret-Gentil.

Gil, Isabel Capeloa (2005). Jede Frau ist eine Tänzerin...’: The Gender of Dance in Weimar Cultur in Schönfeld, Christiane ed. (2005). Practicing Modernity: Female Creativity in the Weimar Republic. Würzburg: Königshausen & Neumann.

Green, Michael D. (1994). Mathis Lussy’s Traité de l’expression musicale as a Window into Performance Practice. Music Theory Spectrum 16 (2): 196-216.

Jaques-Dalcroze, Emile (1935) Petite histoire de la Rhythmique in Le Rhythme 28.

Jaques-Dalcroze, Emile (1942). Souvenirs, Notes et Critiques (Paris: Attinger).

Jaques-Dalcroze, Emile (1945). Gesture, Walking, and Character in La Musique et Nous: Notes sur Notre Double Vie. (Genève: Perret-Gentil).

Jaques-Dalcroze, Emile (1948). Notes Bariolées. (Genève: Edition Jeheber).

Juntunen, Marja-Leena (2004). Embodiment in Dalcroze Eurhythmics. Oulu: Oulu University Press.

Lee, James W. (2003). Dalcroze by Any Other Name: Eurhythmics in Early Modern Theater and Dance. Ph.D. Dissertation, Texas Tech University.

Lussy, Mathis (1885). Musical Expression. London: Novello, Ewer, and Co. transl. Glehn, M. E.

Maduriera, José Rafael (2008). Émile Jaques-Dalcroze: Sobre a experiencia poética da Ritmica – uma expsocao em 9 quadros inacabados [Émile Jaques-Dalcroze: About the Poetic Experience of Ritmica - An Exhibition in Nine Unfinished Frames]. Doctoral Thesis Universidade Estadual de Campinas, Department of Education.

Magrini, Tullia (2003). Music and Gender: Perspectives from the Mediterranean. Chicago: University of Chicago Press.

Manning, Susan (2006). Ecstasy And the Demon: The Dances of Mary Wigman. Minneapolis, MN: University of Minnesota Press (origi pub date 1993).

Mead, Virginia (1994). Eurhythmics in Today’s Music Classroom. NY, NY: Schott Music Corp.

Mithen, Steven (2006). The Singing Neanderthals: the Origins of Music, Language, Mind and Body. Cambridge, MA: Harvard University Press.

Moore, Robin (1992). The Decline of Improvisation in Western Art Music: An Interpretation of Change. International Review of the Aesthetics and Sociology of Music 23 (1).

Phuthego, Mothusi 2005. Teaching and Learning African Music and Jaques-Dalcroze’s Eurhythmics in International Journal of Music Education 23m no. 3: 239-248.

Ribiero, Monica Mederios (2012). Corpo, Afeto, e Cognicao: na Rítmica Corporal de Ione De Medeiros - entrelaçamento entre ensino de arte e ciências cognitivas. (Body, Affect and Cognition: Rhythmic Body in Ione de Medeiros - Intertwining of art education and cognitive sciences.) Doutorado em Artes, Universidade Federal de Minas Gerais, Escola de Belas Artes.

Rouget, Gilbert (1985). Music and Trance: A Theory of the Relations Between Music and Possession. Chicago: University of Chicago Press. (Original, 1980; Editions Gallimard).

Rousseau, Jean-Jacques (1764). Emile or on Education, tr. by Allan Bloom (Basic, 1979).

Sadler, Michael E. (1915). Introduction to The Eurhythmics of Emile-Jaques Dalcroze. Boston: Small Maynard and Company.

Schnebly-Black, Julia and Moore, Stephen (1997). The Rhythm Inside: Connecting Body, Mind, and Spirit Through Music. Portland, Oregon: Rudra Press.

Spector, Irwin (1990). Rhythm and Life: The work of Emile Jaques-Dalcroze. Stuyvesant, NY: Pendragon Press.

Storck, Karl (1912). E. Jaques-Dalcroze, seine Stellung und Aufgabe in unserer Zeit. Stuttgart: Greiner & Pfeiffer.

Toepfer, Carl (1997). Empire of Ecstasy: Nudity and Movement in German Body Culture, 1910-1935. Berkeley, LA, Oxford: University of California Press.

Wax, Edith (1973) Dalcroze Dimensions. Canaan, NY: Mostly Movement.


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Copyright © 2013 William R. Bauer, All Rights Reserved

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19

Dalcroze in America – the Next StepsAnne Farber

I hear Dalcroze in America is at a crossroads. I hear it because it’s our theme song. We may sing it to somewhat different melodies, but the intent of the lyrics is clear: we need to make some big decisions about what happens next. My fervent hope is that we will choose the path of unity.

That has a nice ring, but what does it mean? What does – what could – unite us? I think the principal thing we share is a philosophy of music education. In that philosophy are ideas about music, about musicality, about modes of learning, about minds, ears, voices, bodies and lesson plans. Each of us would undoubtedly have a set of specifics for those ideas, with much commonality in the details as well as in the larger picture. And, surely, some differences about procedures, sequences, and aesthetic concerns. But one of the characterizing features of

Dalcroze is that it is not a system. An approach perhaps. A philosophy, as I mentioned. A discipline – as in a way of thinking, not a set of rules. A collection of shared strategies, practices, points of view.

I honor and embrace the flexibility, the diversity of our work. I think, however, that a document representing – to us and to others – what we intend, and how we teach to it, would strengthen our sense of community and at the same time serve to clarify our identity in the world of music education. I have drafted such a document. I call it a curriculum, and I encourage each of you to give it a look.* Add, subtract, loosen, tighten – let’s see if we can put on paper something we can all stand by. Even use! We need to create specific learning outcomes and assessment criteria, but first comes a shared understanding of curriculum.

The other component of unity to consider is our national organization. It needs to include all of us – Diplomates, License and Certificate holders, teachers-in-training, students. And together we must work to promote the growth of Dalcroze in America. We need more students, more teachers, more interest in, and opportunities for, certification. As things stand now, only Diplomates can confer certification, a ruling from Geneva that apparently cannot be modified. I think the time has come to take this credentialing power into our own hands, designing a plan to authorize those among us who are ready – skilled in our work and experienced as teachers – to take on the responsibility of training and certifying new candidates. I support the creation of Master Teaching Artists. If the certifying paper handed out by the MTA’s cannot contain the term Dalcroze, let it say Eurhythmics. Close enough. The next step is for the Diplomates to discuss how best to bestow this certifying ability on those we agree are ready to assume the responsibility.

Other issues: What does eurhythmics mean? Is it the whole thing or just the movement class? Both. These definitions/uses are not contradictory, they’re complementary. We’ve been using the term all along to mean both the whole and the part. Context makes it clear. I don’t see any real problem here.

Our name: Dalcroze. We want to make it better known, but known it is already. As Dalcroze. Let’s not complicate it with additions. No Jaques attached. Unnecessary and unuseful.

Finally, I wind up where I started. We need to stay together. Let’s all wish – and give – each other a happy and productive New Year!

*Editor’s Note: This curriculum was originally published in Vol. 38 No. 3 and is reprinted here beginning on p. 21.

Anne Farber


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Dalcroze Eurhythmics: An Education in and through MusicAnne Farber

The goal of eurhythmics is to train body, ear, and mind to fulfill their proper roles in perceiving, understanding, producing, performing, and inventing music.

The understanding and mastery of the three basic elements of music: tone, rhythm, and dynamics, may be effectively achieved by means of a learning sequence that begins with physical (kinesthetic) and aural experience and proceeds to concept formation, creating a set of connections among body, ear, and brain. This collaborative system, profiting from the unique capacities of its components, promotes a large understanding of music in which physical and analytical skills converge to an informed expressivity. Listener, player, performer, improvisor, composer, scholar, and critic all go about their business with the confidence and freedom granted by a disciplined, detailed grasp of the big picture.

We might define the kinesthetic sense as the brain of the body. It conveys information from the body to the mind and back again. It may operate independently of the conscious will, yet can be brought into consciousness when properly called upon.

The kinesthetic sense controls the economy and focus of energy expenditure, which in turn determine co-ordination, ease, grace, and all manner of physical skills; it also delivers information to the cognitive powers essential to their functions of judgment, decision and governance.

This natural physical/mental loop is capable of extraordinary development and refinement. The education of this sense to the purposes of music is at the heart of the Dalcroze work.

The Dalcroze work has three branches: Eurhythmics, the training of the body in musical perception and performance; Solfège, the work of ear, eye, voice, and mind in attaining musical literacy; and Improvisation, the control and shaping of spontaneous musical thought on an instrument, principally – though not exclusively – piano and voice, as well as choreographic realizations of music using space and gesture.


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Basic Curriculum

Eurhythmics: The study of rhythm, tempo, and dynamics, their functions and their structural value in music.

The First Year

Alerting and educating the kinesthetic sense – The body is the instrument Flexibility, Economy, Co-ordination Attention-concentration: Bringing movement into conscious awareness and control Use of body: Time/space/energy/weight/balance, Orchestration of body Ease, flow, clarity of movement, Accuracy Appropriateness, Expressivity Internalization: Developing a reservoir of stored kinesthetic experience

Basic Rhythmic Skills and Concepts Duration: Perceive, perform (step, clap, patsch, conduct, etc.) Beat Subdivision: Binary/Ternary beats, Primary and secondary subdivision idioms Meter: groups of beats, accent Phrase: groups of measures, antecendent/consequent Measure Shape: anacrusis, crusis, metacrusis Pattern, Complementary rhythm Tempo: Steadiness, flexibility, variety Tempo changes: gradual, (rit., accel.)/abrupt, meno/piu mosso, 2x fast/2x slow Dynamics: Perceive, perform Levels of energy: speed, amplitude, intensity of movement Dynamics changes: gradual (dim., cresc.)/abrupt, terraces, subito Accent Shape: measure shape, phrase shape Time/Space/Energy/Weight/Balance The crucial interaction of duration and dynamics in music and its expression by the body in space. Musical Form and Structure The experience, through movement, of the basic structural and developmental components of music:

contrast, repetition, variation, motif, theme, question-answer, cadence, etc.

Basic Techniques and Practices Follow: Perform a specific rhythmic task (step the beat/pattern, clap the complementary rhythm, gesture the

phrase, etc.) in co-ordination with a musical accompaniment (piano, voice, percussion), changing the relations of time/space/energy/weight/balance as required by changes in the music.

Quick Reaction: Change an activity, immediately or at a defined moment, according to a cue – verbal, visual, or musical.

Canon: Imitate the leading voice (vocal, instrumental, or physical) at a given time interval. Canons are interrupted or continuous.

Improvisation: Vocal: speech, chant, song Movement: gesture, locomotion, spatial design-choreography Instrumental: pitched and non-pitched percussion, other instruments as appropriate or available. Improvisation is undertaken individually, with partners, and in groups.


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The Second Year

Subjects that may come up in the first year and would be appropriate for the work of the second year: Rests Syncopation Polyrhythm Unequal beats and measures Co-ordination of arm beats and stepped patterns 2 vs. 3, 3 vs. 2 6/8 – 3/4 and 6/8 – 2/4 Twice as fast, twice as slowand: a more advanced exploration of the basic materials introduced in the first year.

The Third Year

Subjects that may come up in the second year and would be appropriate for the work of the third year: Polymeter 12/8 – 3/2 – 6/4 Metric transformation Metric modulation Twice as fast/slow in 3/4, 5/4, 6/8; three times as fast/slow Additive rhythms 3 vs. 4, 4 vs. 3, 2 & 3 vs. 5 and vice versa, etc.and: a more advanced exploration of the materials in the first and second years.

Solfège: The training of ear, eye, voice, and mind to achieve musical literacy

The First Year

Intervals Half and whole steps Intervals and their inversions within the octave

Scales: Diatonic Major and Minor scales Forms of the minor Tendencies: 3-4, 7-8, the tritone Scale segments: dichords, trichords, tetrachords, pentachords Do-to-Do scales – the concept The Circle of 5ths – the concept, the picture

Harmony Tonicity: the phenomenon of tonal center, its function Triads: M/m and their inversions; augmented and diminished – appearances and uses The Dominant 7th : quality, function Cadences Harmonic implications of melody Modulation to immediate neighbors


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Counterpoint Rounds, Canons, 2-voice forms

Rhythmic Connections: all the above in conjunction with the eurhythmics subjects of the first year

Basic Techniques and Practices Listening, singing, responding, imitating, remembering, inventing Sight-singing, dictation, analysis Preferred attitude of body when singing: calm, alert, rhythmic elements internalized. Possible activities when singing: conducting or marking pulse, marking scale ladder in air (or on floor),

showing interval size, gesturing tendencies, drawing melodic contour, phrase, etc.

The Second Year

Intervals: Compound, chromatic

Scales The Circle of 5ths Do-to-Do scales: Major scales and their relative minors Chromatic Do-to-Do scales: an introduction Modes: Relation of modes to Do-to-Do scales

Harmony Augmented 6th, the Neapolitan Modulation to more distant keys 7th chords

Counterpoint: more complex forms

Rhythmic Connections: all the above in conjunction with the eurhythmics subjects of the second year.

The Third Year

Subjects that may come up in the second year and would be appropriate for the work of the third year:Introduction to bitonal, polytonal, atonal systemsModes; non-diatonic scales (octatonic, whole tone, invented modes)Chromatic scales: all Majors and Minors3 and 4 voice counterpointRhythmic connections with the advanced eurhythmics work

Improvisation: the control and shaping of spontaneous musical thought

As movement improvisation is addressed in the eurhythmics class, and vocal improvisation in the solfège class, the improvisation class concentrates on improvisation at the piano, with some exploration of improvisation on percussion and perhaps on other instruments as suggested by the interests and skills of the students and the teacher.


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The First Year

Basic keyboard geography, sound qualities, expressive potential Techniques for using the piano to create logical and pleasing improvised music by shaping and controlling: Basic structural elements: subdivision, beat, meter, melody, harmony, pattern, phrase, etc. Basic components of musical content and development: repetition, contrast, variation, sequence, question-answer, cadence, etc.

Basic Techniques and Practices Elementary pianism: dynamics, pedal, articulation Single line melodies Q&A phrase pairs, short-short-long phrases, phrase groups Diatonic keys: C,F,G, a,d,e; Modes: Dorian, Mixolydian Melodies over simple accompaniments. Non-tonal-centered structural possibilities: rhythmic pattern, intervals, clusters, register, etc. Playing for movement (locomotor, gestural) Harmonizing and accompanying simple songs Evoking images/scenes

The Second and Third Years

More advanced work in all the above, with particular attention to playing for movement and imagery and singing – the activities of the eurhythmics class.

Donations and BequestsThe Dalcroze Society of America accepts monetary donations and bequests on an ongoing basis. Wishes as to how the money will be used (e.g., scholarships, operating expenses, American Dalcroze Journal) will be honored by the Society.

For more information, please contact:Kathy Jones74 Lincoln Ave.Ardsley, NY [email protected]

Dalcroze Research Center at the Ohio State UniversityProfessor Nena [email protected]

Performing Arts Library at Lincoln CenterKathryn Arizmendi220 Manhattan Ave. #8GNew York, New York 10025646.698.5044

Books, music, other Dalcroze-related or financial contributions may be donated at any time to the Dalcroze Collection at the Performing Arts Library at Lincoln Center, New York, NY, or to the Dalcroze Research Center at the Ohio State University. For more information, please contact:


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Research Update• The research committee is looking for ways to increase the number of Dalcroze related studies by way of the university

system. We will be looking at universities where research has previously been done or where Dalcroze classes/teachers are present. If you would like to assist in this endeavor (scouring the bibliography, looking at university websites, call-ing university professors), please email me at <[email protected]>

• If you are looking for international research resources, go to www.fier.com – La Fédération Internationale des Enseignants de Rythmique (the International Federation of Eurhythmics Teachers).

Additions to the Bibliography:Anderson, W. T. (2012). The Dalcroze approach to music education: Theory and application. General Music Today, 26(1), 27-33

Bugos, K. M. (2011). New York State early-career teachers’ selection and use of pedagogical approaches in elementary general music. Ph.D. dissertation, University of New York at Buffalo, New York. Dissertation & Theses: 3475296.

Hecht, P. A. C. (1972). Kinetic techniques for the actor: An analysis and comparison of the movement training systems of Francois Delsarte, Emile Jaques-Dalcroze, and Rudolf Laban. Ph.D. dissertation, University of Michigan, Michigan. Dissertation & Theses: 7214569.

Rubinoff, D. I. (2011). Emile Jaques-Dalcroze’s influence on Frank Martin: 1924-1937. York University (Canada). Dissertation & Theses: NR90332.

Suggested ReadingBugos, K. M. (2011). New York State early-career teachers’ selection and use of pedagogical approaches in elementary

general music. Ph.D. dissertation, University of New York at Buffalo, New York. Dissertation & Theses: 3475296.

This is one of the most recent pieces of research performed and contains pertinent information about the implementation of the Dalcroze methodology in the general music classroom as compared to other methodologies. This qualitative/quan-titative study exposes the important influences on why teachers select specific methodologies to use in their classrooms. Out of the 89 participants, only one teacher was implementing the Dalcroze methodology as the main approach in the classroom. Workshops and special training were the most influential opportunities for teachers to adopt methodologies. Methods courses, student teaching/cooperating teachers, and the needs of student with whom one works were also sig-nificantly influential in a music teacher’s decision as to how/what to teach. In her conclusion the author offers these three suggestions for the purpose of increasing the implementation of the various methodologies:

1. Make pre-service and early career teachers aware that they have a choice of approach, and that their choice matters.

2. Provide pre-service and early career teachers with the information and support they need to make a choice that takes into account their individual personal and professional experiences, preferences, and needs.

3. Encourage the development of a professional mindset that includes an expectation of continuing professional develop-ment in their approach or approaches of choice.

Marla Butke


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To connect to the Dalcroze world, this study shows the importance of workshops being offered frequently and throughout the country for the purpose of providing exposure and important concepts to the many teachers new to this methodology. The impact of undergraduate training is shown in this study and therefore, speaks to the need of having trained Dalcroze professors within the music education faculty.

Informal Research Question Have you used fixed do in your practice and if so, in what ways? Please email me at [email protected]

Your participation is greatly appreciated!

Maria AbeshouseRuth AlpersonCharles AschbrennerViktoriya BabchenkoWilliam BauerJulia Schnebly BlackTerry BoyarskyThomas BrotzJudi CagleyTimothy CaldwellDorothea CookMilene Christine Corso ZottarelliFrancine EvensAnne FarberJeanne Kierman FischerBrent Gault

Kenneth GuilmartinSean HartleyHerbert HenkeFumiko HondaMimi HsuDorothy IndenbaumEiko IshizukaKathryn JonesAnnabelle JosephMichael JovialaCraig KnappYukiko KonishiJohanna KoppCynthia LilleyVirginia Hoge MeadKevin MixonLisa Parker

Diana PopowyczDawn PratsonGregory RistowRandall SheetsHoward SpindlerKristin SpringerJohn R. StevensonKathy ThomsenKatie TraxlerElda Nelly TrevinoMelissa TuckerVilma VargoJohn WardMusik InnovationsJoy YelinPamela Young

The DSA awards scholarships annually to help worthy students pursue Dalcroze education. Contributions to the Scholarship Fund can be made through Patron memberships when you join or renew your membership. Special contributions, in memory or honor of someone you would like to recognize, are most welcome at any time. Contact Kathryn Jones at [email protected]

If you contributed to the Scholarship Fund in 2012 and your name was inadvertently omitted from this list, we sincerely apologize. Please contact [email protected] so that we can correct our records.

MANY THANkS TO ALL WHO CONTRIBUTED TO THE DSA’S MEMORIAL SCHOLARSHIP FUND IN 2012.


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Copyright 2013 American Orff-Schulwerk Association. This article originally appeared in the Winter 2013 issue of The Orff Echo, the quarterly journal of American Orff-Schulwerk Association. Reprinted with permission.


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INTRODUCING THE DSA’S NEW ADMINISTRATIVE ASSISTANT

Dear Fellow Dalcrozians,

Greetings from sunny California! I am proud to introduce myself to you as the new Administrative Assistant for the DSA. I am so excited to serve Dalcroze Eurhythmics through the DSA at this juncture.

In addition to assisting with the administrative tasks of the organization, I will be actively involved in maintaining and updating the website, conducting outreach, and engendering cohesion and unity among our members (you!) through sedulous communication.

Onward, DSA!

Jessica

Jessica Schaeffer is an active professional teacher and performer. A harpist by training (B.M., Northwestern University), Jessica’s engagements range from orchestral and solo appearances to collaborations with composers and pop musicians. Career highlights have included multiple performances as a concerto soloist, principal harp with the National Symphony Orchestra of Bolivia, The Sanford Dole Ensemble in San Francisco, and recording projects with composers Amnon Wolman, Spencer Brewer, Carlo J.Dean. Jessica’s interactive music program What’s That??? An Introduction to the Concert Harp is a two-time recipient of the Arts Council of Mendocino County Get Arts in Schools Program grant, which pairs teaching artists with public schools.

Jessica’s passionate interest in music pedagogy and accessibility (and natural love of movement!) led her to the study of Dalcroze Eurhythmics. She holds an M.M. and Certification in Dalcroze Eurhythmics from The Longy School of Music of Bard College (2010) and has served as faculty with the Concord Conservatory of Music and Tufts University Preparatory Music Program.

Jessica currently resides in Northern California where she maintains a private teaching studio and continues to explore the many facets of music-making with others, be it in a baroque consort, folk-rock band, as a therapeutic musician, and, most recently, as a member of the San Francisco Contemporary Music Players 13 harp ensemble performing the music of John Cage.


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FOR

JAQ

UES

-DA

LCRO

ZEEDUCATION

INSTITUTE2013

UNIVERSITY OF PENNSYLVANIA

PHILADELPHIAJuly 22-26 (Modules I and III)

July 29 - August 2 (Modules II and IV)

DORM SUITESMEAL PLANS

EURHYTHMICSSOLFÈGEIMPROVISATION

PEDAGOGYPLASTIQUE

MONICA DALEJACK STEVENSON

registration: www.dalcrozesummer.comemail: [email protected]

A Musical Experience!

JAQUES-DALCROZE CERTIFICATION PROGRAM


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Rita Wilmouth, wife of Jean F. Wilmouth, Jr. for 44 years, passed away in August, 2012, in Pittsburgh, Pennsylvania. Following the death of her husband, Jean Wilmouth, Jr., in 2007, Rita continued to head Music Innovations, the business they began together in 1979. (Musik Innovations continues under the direction of their daughters, Gretchen and Daniele.)

Jean was widely known as a Dalcroze and Orff clinician and advocate, while Rita worked quietly behind the scenes throughout the years, helping to establish their business as a leading source of Dalcroze books and materials. Both were graduates of the Carnegie Mellon University School of Music.

Rita and Jean were gracious and generous friends and colleagues, and they will be greatly missed.

Rita Wilmouth


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summer coursefrom 1st au 5th July 2013 cours post licence

28th June - 30th June 2013

44, rue de la Terrassière - case postale 6129 - CH-1211 Genève 6 Eaux-Vives tel : + 41 22 718 37 60 - [email protected] - www.dalcroze.ch


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The First International Conference of Dalcroze Studies

24 – 26 July 2013Coventry University, Uk

Our conference:In recent years there has been an upsurge in the academic study of embodiment and the centrality of movement and rhythm in music cognition, education and performance. This conference seeks to extend our understanding of Dalcroze Eurhythmics from these and a wide variety of other perspectives: historical, cultural, socio-political, theoretical, philosophical and empirical. It also seeks to promote interdisciplinary dialogue between researchers into Dalcroze Eurhythmics and those from a wide field of related disciplines and practices.

2013 sees the centenary of the London School of Dalcroze Eurhythmics (LSDE), founded to promote the teaching method of Emile Jaques-Dalcroze (1865-1950) in the UK. This is the first international conference of Dalcroze Studies and is part of the celebrations to mark the centenary of the LSDE.

Confirmed keynote speakersProf. Louise Mathieu, Université Laval, Canada Prof. Maxine Sheets-Johnstone, University of Oregon, USA, Dr Katie Overy, University of Edinburgh, UK

Call for AbstractsWe would like to invite presentations on topics such as, but not limited to, the following:• Emile Jaques-Dalcroze, his teaching, writings, composition and

improvisation, and his musical, philosophical and cultural influences• The history and impact of Dalcroze Eurhythmics worldwide• The relationships between Dalcroze Eurhythmics, theatre,

dance and other educational and somatic practices• Past and present applications of Dalcroze Eurhythmics• Current pedagogical practice• Dalcroze, health and wellbeing• The Dalcroze identity

We also welcome related presentations on music, movement and the body from a range of disciplines and perspectives including: aesthetics, dance, ethnomusicology, evolutionary biology, gender politics, improvisation, music analysis, music pedagogy, music therapy, musicology, neuroscience, performance studies, phenomenology, psychology, somatic practices and spirituality. Performances of Jaques-Dalcroze’s music or related repertoire are welcome as well as presentations of plastique animée, theatrical or dance work. Poster presentations may be invited, depending on the amount of submissions received.

Deadline for abstract submission: 7 January 2013

To submit your abstract click here:www.eventsforce.net/cu/frontend/reg/homepage.csp?pd=31692&msID=&eventID=386&page=registerNew.csp

For more information on submitting your abstract click here: www.eventsforce.net/CU/media/uploaded/EVCU/event_386/Call%20for%20papers.pdf

Registration for the conference will begin end of October


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Summer 2013 CourseDalcroze Eurhythmics, Solfège and Improvisation

Instructors: Louise Mathieu (Diplôme Supérieur - Canada)Karin Greenhead (Diplôme Supérieur - England)Sandra Nash (Diplôme Supérieur - Australia)Cheng-Feng Lin (License – Canada)

Dalcroze Eurhythmics is an educational approach that treats the human body as the primary instrument of musical instruction. Through a variety of fun and experiential whole-body learning techniques, Dalcroze study promotes musical coordination, cognition, and enjoyment. Open to all levels and types of musicians, the Dalcroze approach is a fresh perspective on music teaching and learning, and can be cross-applied to a variety of cognate fields, including dance, theatre, general education and therapy.

Led by internationally renowned master teachers, the Dalcroze Society of Canada’s 2013 summer course will explore the three core Dalcroze subjects - Eurhythmics, Solfège, Improvisation, and introduce participants to the related areas of Plastique Animée and Dalcroze pedagogy. Students wishing to pursue the Dalcroze Society of Canada’s certification designation may count the 2013 summer course toward credit hours.

This summer, come explore new ways to discover your musicality, through the body!

Location: National Ballet School, 400 Jarvis Street, Toronto, Ontario - Time: 9:00-5:00 pm daily

Week 1: Tuesday August 6 to Friday August 9, 2013 (4 days, 25 credit hours).Levels of instruction offered: • Beginner/Intermediate• Certificate Level• Advanced (post-Certificate). Note: only available in Week 1

Week 2: Monday August 12-Thursday August 15, 2013 (4 days, 25 credit hours).Levels of instruction offered:• Beginner/Intermediate• Certificate Level

Certification Exams: Friday August 16, 2013*(*Pre-requisite: 75 coursework hours required including weeks 1 & 2 of the Summer 2013 Course.

Please contact the Dalcroze Society of Canada for more details)

For more information, visit dalcrozecanada.com

Dalcroze Society of Canada


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tristatedalcroze.org

Cynthia Lilley: A Dalcroze HalloweenExplore some of the ways the most imaginative of holidays enhances musicianship through the Dalcroze approach.

Thursday, October 18, 2012 Registration: 6:30 pmWorkshop: 7:00 – 9:00 pmPlace: The Diller-Quaille School of Music, 24 East 95th Street, NYC (between 5th Avenue and Madison)

Orff/Kodaly/Dalcroze Joint Chapter WorkshopBetty Hillmon: African American Music TraditionsSaturday, January 26, 2013Registration: 9:30 amWorkshop: 10:00 am – 2:00 pmPlace: Trevor Day School, 4 E. 90th Street, NYC (between Madison and 5th)

Dalcroze Eurhythmics Sings: Gregory Ristow (2 day event)Thursday April 11th, 2013Place: The Diller-Quaille School of Music, 24 East 95th Street, NYC (between 5th Avenue and Madison)7:00 – 9:00 pm (registration 6:30 pm)

1. Modulation, invention and fugueCounterpoint comes alive: sing, hear, move, create and improvise baroque inventions and fugues using the Dalcroze approach to solfège and ear training.

Saturday April 13th, 2013Place: The Trinity School, 139 West 91st Street, NYC (between Amsterdam and Columbus)10:00 am – 4:30 pm (registration 9:30)

2. Eurhythmics for Singers and Voice Teachers (10 am – 12 pm)Move and sing to explore the many ways the Dalcroze approach can help singers find musical freedom and joy.

3. Demonstration with Sarah Bonsignore and the Trinity Upper School Chorus (1:00 – 2:00 pm)Warm-ups, sight reading, ear training and rehearsal techniques incorporating Dalcroze Eurhythmics.

4. The Moving Chorus: A Master Class with the Trinity Honor Choir (2:15 – 4:30 pm)From warm-ups to repertoire: embodying the music through Eurhythmics to keep singers moving and engaged throughout the learning process.

All regular workshops are $15 for members of the DSA, $35 for non-members per workshop. Season membership in the Tri-State DSA Chapter is $40 for participating members. For other rates, and to join online, visit http://www.dalcrozeusa.org. Membership in the Dalcroze Society of America automatically includes membership in the TriState Chapter of the DSA.

For further information contact TriState President, Michael Joviala, [email protected] or TriState Treasurer, Kathryn Jones, [email protected].

2012–2013 Workshops

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Northwest Chapter of the Dalcroze Society of America hosted the National Conference for 2012. It was held on the grounds of Seattle Pacific University and was highly successful, bringing together a large (over 100) group of people from different parts of the country and even other countries. The teaching was excellent, the companionship first-rate, and the accommodations top-drawer.

The Chapter scheduled two workshops for the year. The first, on November 17, brought us Dr. Jeremy Dittus from the Dalcroze School of the Rockies in Colorado. His enthusiasm and musical skills had delighted us during the Conference, and we were happy to have an extended time with him. Both the children’s class and the adult activities gave pleasure and ideas.

On March 16, 2013 we will present our second workshop. There will be two sections to the presentation: Eurhythmics: Form and Fancy, with Dr. Julia Schnebly-Black, who organized

the Northwest Chapter in 1989 and has led many workshops in many places. In addition, we are fortunate to have a session called Body-Mind-Spirit-Awareness & Play, led by the energizing movement teacher Christian Swenson, who opened new possibilities to us during the 2012 Conference. We are lucky that he is a Seattle resident!

Plans are being made for a week-long summer workshop, August 12-16, 2013. Julia will be teaching, as well as Dr. Stephen Moore (absent at the Seattle Conference because of surgery), faculty member of Cal State at Dominguez Hills.

We especially invite people who had their first Dalcroze experience at the Conference to come to these presentations. Details can be found on our website www.dalcrozenwc.org or by contacting Julia at 206-527-7034, [email protected] (Please use the word Dalcroze in the subject line).

Contact Dr. Marla Butke [email protected]

The Dalcroze Approach Mary Dobrea-Grindahl, Baldwin-Wallace University, April 13, 2013

San Antonio, Texas

Workshop PresentationsJune 21, 2013contact: [email protected]

R. J. David FregoChair, Department of MusicUniversity of Texas at San [email protected]


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DSA REGIONAL CHAPTERS WORkSHOPS 2012–2013

Three Rivers ChapterThe Three Rivers Chapter of the DSA is sponsoring a Dalcroze Eurhythmics Immersion Weekend for Music Educators on February 23rd and 24th, 2013. Designed for teachers and music education students, classes will focus on Dalcroze Eurhythmics and Pedagogy.

On Saturday, classes will be held on the Carnegie Mellon University campus and include demonstration classes with elementary school students. Sunday classes will be held at the Pittsburgh High School for the Creative and Performing Arts and will include demonstration classes with high school students.

The faculty includes Annabelle Joseph, Herbert Henke, Stephen Neely, and Judi Cagley. The workshop fee is $100 USD per person. To register, please send an RSVP email to [email protected] to reserve your space. Be sure to include your full name, address, phone, and current teaching position.

Lenny YoungAdministrative Assistant, Dalcroze Training CenterCarnegie Mellon [email protected]@andrew.cmu.eduhttp://music.cmu.edu/dalcroze/

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WITCHITAkansas Music Educators AssociationDavid FregoDalcroze Eurhythmics

Three sequential sessions for elementary general music specialists.

February 21 & 22, 2013 • Beginning at 2:00 PM

Contact: Holly [email protected]

MASSACHUSETTSCAMBRIDGELongy School of Music of Bard CollegeLongy School of MusicDalcroze Summer Institute

June 24 – July 12 Three week intensive Dalcroze Workshop. Beginning, Intermediate (new) and Advanced levels in all subjects. Exams following each completed level.

Longy faculty and guest teachers, Anne Farber, David Frego, Ruth Alperson, Cynthia Lilley and Dawn Pratson.

Electives held on Saturday June 29 and July 6. For details, costs and to register go to Longy website. Click on Summer Programs.

Registration gathering June 23 • 7 PMJune 24 – July 128:30 am to 4:45 pm Monday through Friday.

Contact: [email protected]@Longy.edu

MINNESOTAST. PAULUniversity of St. ThomasGraduate Programs in Music Educationkathy Thomsen, instructorDalcroze Musicianship, 3 credits

June 24 - July 3, 2013 • 9:00 AM - 3:30 PM

http://www.stthomas.edu/music/graduate/academics/courses/default.html#DalcrozeContact: Bev Johnson [email protected]

NEW JERSEYPRINCETONTri-State Chapter/Abramson FoundationWilliam R. Bauer, Ph.D.What is Dalcroze Eurhythmics?

An introductory workshop, to be held at Channing Hall of the Unitarian Universalist Congregation of Princeton.

3/17/2013 • 2:30–4:00 PM

Fumiko [email protected]

NEW YORkNEW YORkDalcroze School at Lucy Moses Schoolhttp://www.kaufmanmusiccenter.org/lms/program/dalcroze-for-adultsContact: Alicia Andrews, [email protected]

Anne FarberDalcroze: Eurhythmics and Solfège(Intermediate/Advanced)Mondays 2/4/13 – 6/10/13 • 5:30 – 7:30 PM

Dalcroze: Improvisation(Intermediate/Advanced)Mondays 2/4/13 – 6/10/13 • 7:30 – 8:30 PM

Dalcroze Pedagogy and Applications(Certificate Level)Tuesdays 2/5/13 – 5/28/13 • 2:15 – 4:45 PM

Dalcroze: Eurhythmics, Solfège, Improvisation (Beginning/Intermediate)Tuesdays 2/5/13 – 5/28/13 • 6:00 – 7:30 PM

Dalcroze Pedagogy and Applications(License Level)By arrangement with facultySupervised teaching includes working with Tuesday 6:00-7:30 PM class

Dalcroze: Piano Pedagogy2/10/13 plus 4 additional dates • 7:00 – 9:00 PM


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Michael JovialaImprovisation for all MusiciansThursdays 2/28/13 – 5/9/13 • 1:00 – 2:15 PM

Cynthia LilleyDalcroze: Introduction to EurhythmicsThursdays 2/28/13 – 5/9/13 • 11:30 AM – 1:00 PM

Leslie UpchurchDalcroze at any Age: A Creative Aging ExperienceTuesdays 2/26/13 – 5/21/13 • 12:00 – 1:00 PM

NEW YORkThe Diller-Quaile School of Musicwww.diller-quaile.org/teacher.htmlContact: Kirsten Morgan, Executive Director212-369-1484 ext. [email protected]

Ruth AlpersonDalcroze Methodology: Principles and PracticesThursdays 2/7/13 – 6/6/13 • 2:00 – 4:00 PM

Cynthia LilleyCore Subjects: Eurhythmics, Solfege, ImprovisationThursdays 2/7/13 – 6/6/13 • 6:45 – 8:45 PM

PENNSYLVANIAPHILADELPHIAInstitute for Jaques-Dalcroze EducationJack Stevenson, Monica DaleDalcroze Teacher Training

The Institute for Jaques-Dalcroze Education, LLC is owned and operated by Monica Dale and Jack Stevenson, two internationally recognized Jaques-Dalcroze pedagogues. The program provides hands-on experience of the Jaques-Dalcroze method: Eurhythmics, Solfege, and Improvisation,in addition to Jaques-Dalcroze pedagogy, philosophy, and plastique anime, and prepares candidates for the examinations leading to the Jaques-Dalcroze Certificate.

This year we are proud to announce that the Institute will be held at the historic University of Pennsylvania, in Philadelphia, at the beautiful Perelman Quadrangle. Comfortable studio housing and flexible meal plans are available in addition to off-street covered parking permits.

July 22 – August 2, 2013 • 8:00 AM – 5:00 PM

www.dalcrozesummer.comwww.vpul.upenn.edu/perelmanquad/Contact: Jack Stevenson, [email protected]

TExASSAN ANTONIOUniversity of Texas at San AntonioDavid Frego & Marla ButkeEurhythmics Workshop

One week intensive workshop designed for classroom and studio music instructors.

June 17 – 21, 2013 • 8:00 AM – 4:00 PM

www.music.utsa.edu/dalcroze/Dalcroze_Eurhythmics.htmlContact: David Frego, [email protected]

WISCONSINWAUNAkEEWisconsin Center for Music Educationkathy Thomsen, presenterDalcroze for Music Educators

June 21, 20139:00 AM – 4:00 PM

Contact: Mary Elsner [email protected]

SINGAPOREJaques-Dalcroze Teacher TrainingSingapore Teachers’ Academy for the ArtsJack Stevenson

Jack returns to Singapore to continue the Jaques-Dalcroze teacher training program for the music educators of Singapore. The program is sponsored by the Ministry of Education and the Singapore Teacher’s Academy for the Arts and the Institute for Jaques-Dalcroze Education, Inc.

April 1 – 10, 2013 • All Day

www.facebook.com/pages/STAR-Singapore/135514779864688Contact: Jack Stevenson, [email protected]


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Conference Presentations

To help spread the word about Dalcroze and encourage conference presentations, the board approved the following motion:

To help support its goal of introducing new audiences to the Dalcroze method, the DSA will provide support to help defer the cost for licensed members to present Dalcroze sessions at conferences of professional music organizations such as NAfME, ACDA, AOSA, and OAKE. Licensed members of the DSA may apply for reimbursement of up to $200/conference for travel, housing, and registration costs. The DSA will set aside up to $1,500 for this purpose in Fiscal Year 2012/13. These requests will be considered on an ongoing basis throughout the year, while funds last. Preference will be given to presentations at national conferences.

Those requesting funds should provide the name of the conference, an abstract and title of their presentation, a description of their esti-mated costs, and list whether and what amount any other funding sources are providing.

If funded, the presenter agrees to distribute a provided handout/promo page about the DSA and submit a brief report after the presentation indicating approximately how many attended the presentation and how it was received.


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Dalcroze Society of AmericaMemorial Scholarship ApplicationEach year, Memorial Scholarships to Honor Fran Aronoff, Arthur Becknell, John Colman, Brunhilde Dorsch, Elsa Findlay, and Henrietta Rosenstrauch are awarded for winter or summer study at accredited Dalcroze training institutes to aid future Dalcroze teachers. The purpose of the DSA Scholarship program is to provide financial aid to students attending institutions offering Dalcroze certification or those offering graduate credit for classes devoted to the Dalcroze approach.

The application deadline is March 1, 2013.

DSA Scholarship Rules and Procedures

Scholarships are awarded commensurately for summer programs of one, two, and three weeks as well as for one semester (fall or spring) within the academic year (June to May of the following year). Semester courses are given the same weight as a summer program. Scholarship recipients will receive a one-year membership to the DSA.

Anyone who plans to register to study Dalcroze at a qualifying institution may apply for a scholarship. The Scholarship Committee will award scholarships based on merit and financial need. In addition, the Scholarship Committee will consider the following factors: the applicant’s intention to work toward Dalcroze certification and teach the Dalcroze approach in the United States, the applicant’s country of residency, previous Dalcroze experience, and whether or not the applicant has previously been awarded a DSA Scholarship.

DSA scholarships cover only a part of an applicant’s tuition. In order to serve a number of applicants, no full scholarships are granted, and all good-faith efforts are made to distribute funds equitably to recognized programs and institutions. The size of each scholarship is determined by the Scholarship Committee, the membership of which is determined by the Executive Board. The total amount of DSA funds used for scholarships in a given year is determined each year by the DSA Executive Board. All scholarship grants are sent directly to the institution the applicant plans to attend. Scholarship recipients may not transfer their scholarships to other institutions. Scholarships are awarded for use only within the upcoming DSA academic year; they may not be deferred.

Deadline for applications is March 1.

Scholarship application should include:1. Resume2. The recognized Dalcroze Training Center at which you will enroll;

the dates of the session for which you are applying; the cost of tuition for that session.

3. Three letters of reference: Two professional references (one should be from a licensed Dalcroze teacher) and one general reference.

4. A statement of financial need. Please include a copy of your most recent tax return or other document that demonstrates financial need.

5. A personal statement that describes your teaching experience, previous Dalcroze experience, and reasons for wanting to pursue Dalcroze training.

If a scholarship is granted, the funds will be sent directly to the institution upon receipt of a tuition bill. Further instructions will be included with your acceptance letter.

DEADLINE FOR APPLICATION: March 1st, 2013

Send all materials to Scholarship Chair:

[email protected]


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Kathy Jones74 Lincoln Ave.Ardsley, NY 10502

volume 39, number 2 winter 2013 isbn 1535-7724 rythmique (fier), a worldwide association of dalcroze...

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