Professional Documents
Culture Documents
EMILE JAQUES-DALCROZE
by
Kenneth L. Meints
A DOCTORAL DOCUMENT
Major: Music
Lincoln, Nebraska
June 2014
UMI Number: 3628246
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THE APPLICATION OF THE KINESTHETIC LEARNING THEORIES OF
EMILE JAQUES-DALCROZE
Knowledge of the score, the representation of the sonorous ideal set forth by the
composer, is the foundation for any performer’s interpretation and realization of intent.
Of the many factors which inform this soundscape (medium, historical context,
biography, extra-musical associations, etc.), aspects of inner hearing and audiation are the
most crucial to building interpretation, yet are often the most underdeveloped and
sound within the confines of imagination, to aurally decode musical notation and then to
physically manifest them are necessary skills for all performers of music. For the
conductor who does not have the benefit of regular access to his/her instrument (the
ensemble) for actualized practice, it is all the more critical to cultivate these abilities.
acuity and its manifestations in musicians at various stages of training, including: Emile
Jaques-Dalcroze, Zoltan Kodaly, Carl Orff, and Edwin Gordon. Examination of the value
explored in the context of musicianship training. The present discussion will make
particular reference to the current adoption of the theories and methodologies of Emile
value of Dalcroze’s central philosophy concerning the connection of mind and body in
the building and expression of musical cognition will be addressed in the context of
and conducting-specific courses at Peru State College will serve as a template for
I would like to thank my family for all their moral and emotional support in the course of
pursuing this degree. My wife, Ruth has been the force behind both beginning and finally
getting my program back on track and completed.
Thanks also to Glenn Nierman for facilitating the many moving parts that needed to be
set in motion. His helpful and kind spirit is always in evidence as he makes things run
smoothly behind the scenes.
I would also like to thank the members of my committee for their thorough examination
of my work and the invaluable guidance they have provided in my program: Carolyn
Barber for her challenging of assumptions; Christopher Marks for his thoughtful insights;
and Stephen Behrendt for his unique perspectives
And finally, I would like to thank Tyler White for sharing the depth and breadth of his
knowledge and experience in the field of orchestral conducting and beyond. The diversity
of his lines of inquiry and his ability to provide context to the interpretative choices faced
on the podium have challenged me to grow in all facets of my musicianship.
Table of Contents
Acknowledgements iii
Summary 26
Francois Delsarte 31
Rudolf Laban 33
Emil Jacques-Dalcroze 36
Albert Pfrimmer 37
John Dickson 39
Claire W. McCoy 43
Andrew Mathers 46
Summary 47
Eurhythmics 49
Solfége Rhythmique 52
Plastique Animée 55
Improvisation 58
Summary 67
CHAPTER FIVE:
Hamline University 71
Summary 78
DALCROZE PHILOSOPHY 80
Curricular Expansion 84
Musicianship Sequence 84
Summary 89
BIBLIOGRAPHY 95
1
fidelity to the composer’s intentions as set forth in the score, but they also acknowledge
the role the interpreter plays in the ultimate realization of the soundscape. Many factors
are cited in the building of interpretation from the study of the score and the context of its
associations, etc. As critical as this knowledge may be, it is useless unless the interpreter
also possesses a reliable set of skills based in the ability to craft an aural image of the
score within the musical imagination. These abilities to manipulate the parameters of
sound within the confines of imagination, to aurally decode musical notation and then to
physically manifest them are necessary skills for nearly all performers of music. For the
conductor who does not have the benefit of regular access to his/her instrument (the
ensemble) for actualized practice, it is all the more critical to cultivate these abilities.
These trainable aspects of the profession are quite specifically addressed through
Dalcroze training. From the embodiment of music through movement and gesture
cultivated in Eurhythmics and Plastique Animée, to the goal of increased aural acuity
are of great benefit to the student of conducting. From the perspective of podium
CHAPTER ONE
It seems to be a perpetual sentiment among the music faculty through the ages and
around the world: there is lack of preparation in basic musicianship skills in incoming
music majors. The present discussion will focus on the issues involved in basic
musicianship training, the role of kinesthetics in that process, and the impact on
broadly segmented into a number of assessable issues. These issues are not the only ones
faced by the conductor, nor are they exclusive to the discipline of conducting, but the
demands of the podium and the conductor’s role in the ensemble process necessitate a
pulse, its subdivision and grouping is an essential skill. Without this framework in place,
emphasis and displacement of expectation are in large part a function of maintaining the
underlying pulse. As Casals famously retorted: “Fantasy as much as you like—but with
order!” In his thinking, even rubato, a piacere and the freedom inherently found in
cadenzas follow a logical flow in the current of the pulse in orderly and reliable
Likewise, many aspects of ensemble skill are dependent upon the reliability of a
shared perception of pulse and its variation to achieve maximum intelligibility. When
3
things do not line up temporally there is a weakening of impact, much like the force
created when two moving objects collide. When those objects are off course by a few
degrees, the result is a deflection in which both are thrown off course. As a result, there
must then be a correction made by one or both objects to realign and rebalance. Great
ensemble musicians are constantly aware of these types of course corrections that they
must make and the trajectory those around them are taking.
influence and regulate the musical trajectory of the ensemble as whole through gestural
nonetheless an essential part of the conductor’s shaping of sound through time. This
shaping applies not only to the foreground of the beat and its subdivision, or the middle-
ground of the meter and the phrase, but to the shaping of time over the course of entire
aesthetic intentions is one of the more difficult tasks the conductor must perform.
pitch center, subdivisions of the octave and stability of intervallic content based on pitch
center. Tonal memory and the theories of audiation and inner hearing are paramount to
understanding how pitch centers are maintained over a given time span. Too often,
musicians rely heavily on mechanical means to achieve the sense of pitch center and
intervallic stability: either through fingerings, the kinesthetic feel of distance on a string,
the cognitive rather than the reverse. It is all the more crucial that conductors, with no
mechanism but the mind/ear/voice for reference, develop this ability to hold sound within
of balance, timbre, relative textural importance of individual lines are greatly influenced
by pitch perception. Conductors must be aware of these hierarchies of tonal content and
seek means to influence the ensemble in the process of recreation of the whole--more
externalized sound.
made manifest from the mental image only in this way. Sound is vibration of a physical
medium and perceived primarily through external means and given meaning through
mental processes. Music creation travels this pathway in both directions, from the
physical to the mental (in the case of the audience) and from mental to physical (in the
case of the performer/composer) with many complex interactions and feedback loops
ensemble musician minus the medium of sound creation. The conductor’s contribution is
only of the physical guided by both the conception of and reaction to the soundscape, real
and imagined. The score is the guide, but notation is lifeless without physical-musical
expression of the score can take the form of a fully actualized musical performance or an
internal recreation of a mentally realized ideal, the same way one can experience a
Shakespeare drama on the stage or read silently and imagined on the mind’s stage. In
each case, there is an element of reception and recreation, a part of the process that gives
improvisation in the gestural decisions that the conductor must make, which are based on
the notation and also rooted in maintaining a spontaneous influence in the ensemble
process. This flexibility requires musical imagination and audiation as well as a physical
vocabulary on which to draw to make these improvisatory decisions within the feedback
process. Musicianship in action is the podium standard to which the conducting pupil
must aspire.
To assess the relative importance given to the above issues, and methods of
redressing and remediating them, the discourse of the present study will delve into the
literature of the discipline of conducting and the application of allied disciplines such as
adaptations at Peru State College will be made based on the broader trends and an
assessment of some the best practices regarding the musicianship training sequences at
CHAPTER TWO
The importance of mastering the issues of rhythmic and tonal perception and their
physical manifestation are essential to the musical performer. Many of the authors cited
below have stressed the importance these issues hold for the young conductor, and some
have even addressed them at length. Many, however, leave the question of inculcating
musicianship skills to studies outside of the conducting curriculum proper. That the focus
of the latter group of texts on the particulars of patterns, appropriate gestures in either
hand, grip, stance, etc. is understandable when one takes for granted appropriate
gather some perspectives from contemporary and historical texts on conducting and the
degree of emphasis placed on the acquisition of the musicianship skills leading to the
By no means a complete survey, the following texts have been selected on the
criteria of availability, usage and the degree to which each addresses the subject of
musicianship skills such as inner hearing. The survey of the texts have been generally
edition may be the subject of the review. A further subdivision of the texts into those with
more philosophical underpinnings as opposed to those that are more workbook oriented
has been made. While this further distinction is somewhat subjective, it is valuable in
discerning the pedagogical intent without assigning undue criticism. To find fault in a
text for not addressing issues it clearly was not intended to address would be
7
constructively assessed for their inherent practicality with any pedagogical deficiencies in
perspective on the thorough reading and the internalization of a score. Carse states one
must begin by “mentally realizing the melodic outlines, the harmonic combinations, the
reading of a score that has to be done should be done before the conducting begins. The
conductor’s mind before he begins to rehearse a piece.” (Carse, p.37) The conductor must
the podium to fully realize the potential of the work and the ensemble. “The conductor
who can rehearse well is the one who can hear well, and who hearing, knows what to
primarily through imagination and relies on the conductor’s ability to internalize the
score before there is an attempt to communicate through the physical act of conducting.
While Carse’s comments find general support among the other texts in this brief
survey, there is little to no guidance given on the practical side of building an image of
the score in the mind’s ear. It must be assumed that the ability to hear well and the ability
to maintain an inner conception of the score against which this hearing is measured are
8
possessed by the competent conductor. In either case, there are preconditions to inner
image. Only when a work has come to absolute perfection within him can he undertake to
representing a work to himself, must hear it as perfectly as the creator of this work heard
it”…but also… “A creative artist relies upon the acuteness of his own artistic perception;
he hears new tone-colours, he views his materials in a new light, he stamps his own
personality upon the music.” (Scherchen, p.2) Scherchen is very explicit in the source of
musicality: “Of all the means of musical expression, singing is the most living or vital.
Singing comes from within ourselves. The conductor’s conception of a work should be a
acquiring skill in inward singing. “First of all the ear should be trained. Let the student
sing at sight patterns such as the following. The alpha and omega of all these exercises is
that no instrument should be used. The student must learn to hear inwardly what he sees
and at once sing (or whistle) it.” (Scherchen, p.6) Accompanying this text is a set of
pitches that are arrayed such that tonal centers are difficult to discern. The implication is
that the ear must be able to maintain pitch and measure the intervals in isolation from a
9
key. This would seem a rather advanced exercise in light of the deficiencies discussed in
relation to the typical beginning conducting student and perhaps are to be taken as an end
hearing. “Next the student should make up melodic patterns—short at first, then
gradually longer—of which the first motifs will be dictated to him. He should be taught
to determine the centre of gravity, the driving forces, the curving-points of a melody, to
master the technique of using these data, and to appreciate the laws of melodic structure.”
(Scherchen, p.7) Although not completely clear, the assumption is that these patterns
would be sung and the improvisations would also be sung, although the ranges presented
in the notated sample patterns seem to contradict this assumption unless frequent octave
meter and rhythm.” He proceeds to lay out a methodical approach to practice the division
of the unit using stepping and counting. These begin with a steady pacing of the unit
embodied as a single step at mm=50. Over this background, the student counts aloud to
divide the unit into increasingly smaller divisions, beginning with one count per step and
ending at 9 divisions per unit. Scherchen admonishes the student to proceed from one
division to the next “without altering the tempo, and without any hurried or retarded
divisions of the unit (i.e., 2 to 8 to 5 to 7, etc.) and then introduces the element of
polyrhythm by incorporating these same shifting divisions in the stepping as well as the
In the realms of pitch imagination, improvisation to realize style, and the need for
a physical basis for the acquisition of rhythmic security, Scherchen provides a great deal
of guidance in the way of practical modeling for the student of conducting to explore.
Beyond its initial emphasis on musicianship skills, his text also contains a thumbnail
exploration of the idiosyncrasies of the various instrument families and their techniques,
giving the conductor another tool in the imagining of the soundscape presented in the
score. It is assumed that by presenting these topics aside from and before addressing the
topics of gesture, Scherchen is stressing the fact that musicians need to begin the process
of acquiring the ability to employ the skills of inner hearing before attempting to
communicating the surface elements of the musical score. To this end and because of this
these grammatical constructions and solutions to dealing with them through baton
exceptional ear and the ability to read an orchestral score and stating “the mastery of all
these elements will give the conductor the authority to be a genuine leader”, Rudolph
11
continues, “but musicianship and thorough study of the score will help little unless a
conductor knows how to talk to people.” (Rudolph, p. xv) He then pivots directly to the
ensemble, with little reference following in the entire text on the building of
interpretation, score reading and ear training elements. As the principal instructor of
conducting at the Curtis Institute, it is to be assumed that his students were already
accomplished in these skills, that other coursework was satisfactory in training these
skills, or that this element was presented in class as an adjunct to the grammatical context
being studied.
media: “One of the major obstacles to learning his craft, however, is the fact that the
student has little chance to practice on his instrument, the orchestra.” (Kahn, p. ix) In
Kahn’s opinion, gaining an aural image and physical response is generated from the score
and the conductor’s ability to realize it within the mind. To stress this organic
relationship between score and the inner hearing of the conductor, in Kahn’s opinion
“conducting with a recording is not recommended. The student will not conduct the
recording but will be led by it.” (Kahn, p. ix) Kahn states while recordings can help learn
an unfamiliar work, “It is advisable, however, for a serious student of the art of
conducting to study a score thoroughly without this help. Thereafter a comparison with a
Like many texts, (Rudolph and Green, in particular) Kahn devotes a very large
portion of his text to the particulars of patterns and time beating. Part One of the text
progresses through meters and articulation, preparatory beats, fermatas and releases, cues
etc., all illustrated via short musical excerpts in the text and an attendant list of works
matter of first course, Kahn leaves the impression that he believes that a physical
repertoire on which to draw is not predicated on the aural image that he discussed in his
introductory materials. The “how?” is placed seemingly before the “why?” and feedback
between aural and physical are not explicated but remain a matter of assumption.
importance of musicianship skills and inner score reading in success on the podium in
Part Two of his text. “Ear training is generally considered ‘elementary’ and therefore
musician must continue to train his ear, and for a conductor a highly developed ‘inner’
ear is an essential tool. A good conductor must be able to read a score like a book: the
better his ear, the greater his mastery over his orchestra.” (Kahn, p. 81)
the conductor’s ear and sense of mastery over the essential elements of hearing from the
podium. His four areas encompass dictation, error detection, timbre recognition and inner
hearing of the printed score. Kahn states, whereas progress can be charted in fairly
objective terms for the first three areas, the fourth is highly subjective and “No teacher
can actually test a student’s progress in this area. The student must judge himself; the
final test comes when he stands in front of an orchestra. He must be able to recognize
13
when wrong notes are played and hear exactly which instruments are playing them.”
(Kahn, p. 85)
approach to ear training. Starting first with Bach inventions, the student is asked to hear
through the upper part for a small section (eight bars or less) without resorting to the use
of any instrument whatsoever. The student is to then focus attention to hearing the bottom
voice in the same section, using the same sense of inner hearing. Once fixed in the
hearing, there is then an attempt to combine voices in inner hearing. Kahn emphasizes
that the material should not be overly familiar to the student and that small segments will
serve best at first. From the two part inventions, the student should progress to three
voice sinfonias and fugues, always striving to realize outer voices first before progressing
separate can be achieved, as well as the inner hearing of works for larger forces such as
Kahn finishes his text by dealing with the particulars of instruments and
instrumentation. These topics are included as a way of giving the conductor a better
conception of issues and capabilities of the orchestral forces to facilitate score study
aimed at aural acquisition of ideals in timbre, articulation and balance. Practically, this
discussion also gives the conductor a sense of how to anticipate common issues and
devise efficient rehearsal techniques to preempt foreseeable problems. In this way Kahn
covers much of the same materials as Scherchen only with a differing approach to order
and emphasis.
14
Considered together are two widely-known and utilized texts written by Elizabeth
Green. Taken in tandem, these two works depict vividly the demands of the conducting
profession. The fact that Green’s works have been published in at least nine editions over
the past forty-three years is a testament to the applicability of her pedagogical approach.
In selecting the most commercially accessible editions for review, and therefore the most
likely to be used in coursework, it is hoped that the following assessment will find its
greatest applicability.
Although a great deal of the text of The Modern Conductor is devoted to the
address the questions of requisite traits for the conductor. He separates these attributes
into the broadly defined and generalized categories of “your mind, your hands-arms
complex, [and] your musicianship”. (Green 2004, p. 1) Gibson further explicates with the
following statement regarding musicianship: “In one short, spicy sentence, musicianship
is what your ear hears while you are conducting.” (Green 2004, p. 2; bold and
italicized text is original) Although not absolutely explicit, this statement implies a
feedback loop where the mind holds the idealized and internalized aural conception, the
physical act of conducting provides a means of influence over the outer musical product,
and the ears check the product through the filter of acquired musicianship skills. Gibson
further expounds on the synthesis that draws together the realization of the external
elements of performance (ensemble rhythmic/tempo, tone quality, pitch and balance, etc.)
with the inner conception of the conductor revealed through the sound concept of the
While the emphasis of most of the text becomes more about the means of physical
execution, the text does provide some basic and practical steps to improve inner hearing,
beginning with the imagining of semi-tones and gradually moving to larger intervals.
(Green 2004 , p. 7) This instruction is far more rudimentary than that recommended by
Kahn or Scherchen, but at the same time this simplicity can also be far more useful at the
beginning stages of inner hearing. Unfortunately, this initial foray into inner hearing is
not furthered in the text on any systematic or consistent basis and is assumed to be left to
Green fleshes out a more elaborate score study approach emphasizing greater
reliance on inner hearing skills in The Conductor’s Score, a textual expansion of the
teachings of Nicolai Malko. Malko, much like Scherchen, advocated the treatment of
conducting as a teachable art, both in terms of baton technique and the skill of score
reading. Whereas Green’s previously discussed text, The Modern Conductor, deals
primarily with the physical disciplines of gesture and movement, The Conductor’s Score
provides more insights for interpretation of the printed page as a testament of the
composer’s aural conception and intent. Green states that: “the greater the conductor, the
greater his ability to hear.” (Green 1975, p. 2) And further: “the eye and ear aid one
another in the score-reading process.” (Green 1975, p. 2) The coordination of eye and ear
lead the conductor into the formation of an imagined ideal, “when he studies scores, [the
conductor] applies himself to hearing in his mind the melodic line, the harmony, and the
sound or color of each instrument as it adds its voice to the ensemble.” (Green 1975, p. 2)
The ear’s role in the process is two-fold: “the objective hearing of audible sounds
and the subjective, imagined, inner-ear process.” (Green 1975, p. 3) Furthermore, Green
16
expounds on the relative difficulties involved in the development of each type of hearing:
“Objective hearing is easily trained. One has only to concentrate his attention on what is
actually sounding.” (Green 1975, p. 3) This faculty is involved in the critical evaluation
unfolding before the conductor’s ears. Green characterizes the training of imaginative
hearing as “much more complex and difficult. It needs a great deal of specialized
attention.” (Green 1975, p. 3) She outlines the following sequence in the process of
mastery in inner-hearing: 1) the ability to imagine accurately whole tone and half tones
from a given pitch; 2) the ability to fill in the gaps between scale tones through singing;
3) and finally, the ability to mentally fill in the gaps between scales tones with vocalizing
with objective hearing to complete the conductor’s ability to check the reality of
performance with the conductor’s aural image of the composer’s conception. In addition
to further outlining a set of practical exercises for the training of imaginative hearing at
the end of the first chapter, she devotes the entirety of Chapter 5 to the application of
the score. For Green, “Interpretative imagination deals with the inspirational profile of
the music, its emotional content, its personalized appeal. Joy, sorrow, peace and calm,
turbulence and excitement, nobility, gentleness, triumph or despair—they are all there.”
(Green 1975, p. 77) Defining the affective content of the music as it is evidenced by the
phenomena of the discourse of the musical elements is the focus. To illustrate, Green
provides a set of twenty original melodic phrases for which the reader is to determine the
17
emotional content through examination of their musical attributes. “This ability to vary
one’s own emotional response as the music demands is also an important aspect of the
conductor’s art. It is one factor in making a performance come alive and negating a dead-
Marple’s title would tend to lead one to believe his text might fall neatly into the
category of a “workbook” text in the vein discussed near the end of this chapter. Granted,
a major portion of the text is devoted to the detailed rendering of patterns, releases,
stance, baton grip etc., but it differs from the workbook model in that very few of his
the majority conducting course situation. In choosing a variety of literature from many
different genres, Marple aligns his text more closely with Green’s The Modern
applications taken primarily from performance repertoire. Unlike Rudolph (and more like
Prausnitz), the scores and excerpts in Marple are essentially what one might find if
looking at a published work, rather than requiring students to obtain a published copy for
study.
In Marple, the musical examples proceed from piano/vocal scores (two lines)
through condensed conductor scores to full scores of classical symphonies and wind band
process of acquiring inner hearing. Approaching the managing of larger and more
complex scores by masking and highlighting the various components within the score
bringing attention to the portions to be emphasized, Marple starts to address the practical
18
aspects of complex score reading and score orientation familiarity. This application is
also helpful as a practical exercise in the comprehension of the score in terms of timbral
imagination, however his approach does not go much deeper than visual arrangement of
In his preface, Marple clarifies his intentions in writing the text to assist “the
serious student of music who realizes that much of his professional career will consist of
conducting amateurs, whether in public schools or church choirs, city choirs, city bands,
or community orchestras.” (Marple, p. xiii) In this light, the practical nature of his
approach to score study, though not as deep as would be hoped, nonetheless mirrors his
intent. “Unlike many texts on conducting, this one helps the young conductor in learning
to read and study a score in preparation for his conducting duties.” (Marple, p. xiii) In his
view, the place for learning score management and study skills is concurrent with baton
technique and gesture. In Marple’s view, this is the most efficient means to communicate
through gesture.
conductors, like good composers, hear within their minds what they see in the score
before them” and “security comes from experience in learning to use a score, learning to
hear with your mind, and being able to express yourself through gesture without giving
3) These sentiments echo those of Scherchen and Prausnitz regarding the emanation of
gesture from the mental conception. However, unlike Scherchen (but more similar to
Prausnitz), there is little in the way of guidance as to the acquisition of these traits
19
On the other hand, Marple does provide a few insights into the complexities
involved in studying and understanding a score in terms of perspective. The first type of
perspective is that of the performer of an individual line, experiencing part of the whole
conception of a work from within the ensemble. Marple states that this single line
approach tends to be “more from a technical standpoint” and often lacks attention
in which the contribution of the individual in relationship to the greater creative process
is lost.
Marple posits a second type of perspective; one that emerges as score study
synthesis in the mind as one perceives the score and focuses on its theoretical and artistic
aspects, storing information in order to bring it to bear upon the entire work as it is
performed. Theory and music literature courses should have assisted you to begin this
type of study.” (Marple, p. 77) This perspective does not exclude the first type of
perspective, but rather springs from the combination and appreciation of the multiple
of the second type of perspective, Marple refers to his earlier comments on gesture and
symbiosis finds expression in a third type of perspective: embodiment. “Even after you
20
know the score, you must feel it within your conducting technique. You may have
memorized the score, being able to advise each player of his notes or understand its style,
but [you must] feel the work in you body as a conductor… as the only concrete
representation of sound …from the podium.” (Marple, p. 77) This perspective requires a
deep synthesis of musical elements and the ability to transfer that concept across multiple
conceptualization. This level of perspective defines the complex nature of the conductor’s
the podium. The layout of the text takes the form of alternating views of score study and
admonishes the conductor that before any rehearsal begins the “aural image” of the
product must be “worked out in silent preparation.” (Prausnitz, p. 2) Implicit is the need
to secure this image by means of inner hearing. He further states the “conductor’s
primary musical instrument is his own mind,” (Prausnitz, p. 2) referencing the lack of
access the conductor has to practicing on the outward instrument of the ensemble.
Reliance on internalization of elements of the score through silent practice allows for
gesture to emanate from this thorough knowledge of the score. “The process of hearing,
Acquisition of these skills of aural imaging is not a topic taken up by Prausnitz in any
subsequent detail; it can be assumed he feels the study of the score will provide the
21
necessary image or that this issue is already prerequisite knowledge for anyone pursuing
his course.
Prausnitz includes a quote from Roger Sessions in dealing with the issue of
thing as a definitive performance of any work whatsoever. This is true even when given
by the composer himself.” (Prausnitz, p. 2) Prausnitz’s implication is that while the score
provides (in varying degrees) much of the information required to render a composer’s
aural image, there still exists an aspect of ambiguity for which the performer must
provide solutions. In these more subjective matters the evidence of the score points the
conductor towards a certain subset of possibilities, but the conductor must possess the
choices.
image and its foundation to interpretation and physical expression throughout the text in a
series of flow charts connecting score and podium. These charts serve to reinforce the
interconnection of the physical score, the mental conception, the physical rendering via
the conductor’s intentions founded in a complete, thorough and exhaustive study of the
score. Even as an advocate for textual fidelity, Schuller does stipulate, as did Prausnitz
via Sessions, that there really exists no definitive interpretation of any given work only
those which may find varying degrees of correctness in their recreation of the composer’s
22
they are based on a close reading of the score.” (Schuller, p. 14) Although these terms are
also subject to the opinion of the critical listener, Schuller cautions against using this fact
as giving license to the impulse that, “any arbitrary, personal interpretation can also be
valid and thus be sanctioned.” (Schuller, p. 14, italics are original) To Schuller, there are
the score as well as the composer and historical/stylistic background information on both.
The knowledge of the score occupies the majority of the text, using examples from the
score to make value judgments on the interpretative choices made on select recorded
phonographic record of these interpretations and the comparisons and contrasts they
present with his own inner aural image, Schuller highlights what he views as the correct
by implication, the gesture to elicit the sound). Although Schuller does not devote great
length to either the gestural rendering or acquisition of the aural image of the score, his
remarks on the relative importance of each are worth noting: “physical expression is but
the outward manifestation of what we know and feel about the music (the score). All the
physical and choreographic skills in the world will amount to nothing if they represent an
insufficient (intellectual) knowledge of the score and an inadequate (emotional) feel for
examination of the score based on the inner and outer hearing of the conductor guides
this. Schuller levels criticism at the lack of emphasis on developing this connection of
hearing to the score in the vast majority of texts and conducting courses: “what is rarely
realized—or discussed or taught in conducting classes—is that all the ‘excellent ears’ in
the world are irrelevant if those ears do not know what it is they should be hearing. In
point of fact, one’s ears are useless equipment if one’s mind, the musical intelligence,
does not inform the ears what to hear, what to be listening for.” (Schuller, p.17, italics are
original).
This concept of comparative hearing, for Schuller, falls into seven separate
articulation; 6) balance and orchestrational aspects; and 7) line and continuity. Although
on the surface, these hearings appear to be engaged in reaction to the physical sound of
an ensemble, they are in fact filters applied to inner hearing acuity and the images stored
in the conductor’s mind of the score in its idealized form—something Schuller refers to
as the third ear (the inner sense of hearing). Schuller comments on the rarity of
possession of all aspects of hearing by a single individual from the podium: “I cannot
think of a major conductor working today who possesses all seven, with the possible
He explains further “it is one of the most difficult challenges, for conducting students, for
example, to be aurally/mental free enough to hear precisely, critically, the results of their
conducting.” (Schuller, p. 18) “It is entirely possible for even the ‘best ears’ to miss some
other matter, because one is aurally distracted by the chosen primary concern.” (Schuller,
24
p. 19) Schuller clearly is commenting on the difficulty of putting into practice the skill of
hearing everything, but he is not excusing conductors from making an effort to acquire
the inner hearing skills necessary to express the composer’s intent through the score.
While there are a great many texts that may be categorized as a type of workbook
with assignments to be prepared and executed in the context of group instruction, the
above collection should be considered representative. Other criteria for inclusion in the
list are widespread availability and usage as well as the familiarity the author of the
current study has with each in the context of conductor pedagogy. These selected texts
are representative of a classification of texts that are highly practical in nature. Such texts
often incorporate a flexible approach to instrumentation that may be utilized with ad hoc
combinations of instruments, voices, and piano readily allowing for in-class performance.
The primary purpose of the above texts is to provide the beginning conductor a
guided experience in leading an ensemble through various musical situations that are
commonly encountered while on the podium. Generally beginning with issues of right
hand rendering of metrical patterns, various incomplete measure starts, fermatas, and
progressing to the use of the left hand in supporting the functions of cuing, dynamics ,
etc., these texts provide a generic template for movement and gesture. However, they
often miss the vital step of discovering the “why?” by jumping straight to the “how?” In
making this leap, the texts rely upon previous musical experiences of the student and the
25
course instructor’s guidance to piece together the musical reasons for gestures and how to
This criticism is not leveled for any purpose other than to point to a general gap
left in any course of study that relies solely on such texts without supplementation in
connecting gesture and aural imaging. These texts are by design issue focused, exploring
in isolation one or two issues which the novice conductor may face on the podium at one
point or other in their career. Just as most composers’ musical scores are artistically
rather than didactically conceived and employ multiple layers of aural imaging that move
through a constantly changing array of musical elements, the conductor must also be
trained to perceive and react to these artistic conceptions as well. The prescriptive nature
supplemented for the beginning conductor to gain fluency in syntax and grammar beyond
the management of time beating, its suspensions and fluctuations. There is need for a
more balanced approach in which students also gain experience dealing with longer and
reading comprehension. While the workbook type of text concentrates on the phonetic
aspects of conducting (as do many of the others surveyed), the young conductor’s sense
of larger forms, long-term musical flow, and sustained gestural expression also need
SUMMARY
A great many of the texts surveyed above emphasize inner hearing, rhythmic
influence, and the ability to interact flexibly with the score and ensemble. Some also
emphasize the acquisition of aural image as a result of silent study. Nearly all focus on
the score and then rendering the physical conducting gestures that are thought best to
communicate the musical information contained within the score. But, only a very few
outline techniques for acquiring either the inner image or the path through which gesture
and image are made into a singularity. In the view of Robert Garofalo, “many novice
conductors learn the craft of conducting before they learn how to study a score. This
reversed learning sequence often creates a peculiar situation where a neophyte conductor
image of the music.” (Garofalo, p. iii) He feels the vast majority of texts focus too much
on the physical acts of patterns, baton grip and other outward manifestations of the
conducting profession without regard to their organicism in the musical elements of the
score.
conducting, there exists a gap between aural image and physical action that must be
addressed as a preparation to success on the podium. With limited time to influence the
beginning conducting student in the formation of these essential characteristics and the
general lack of emphasis in text books designed for undergraduate courses, instruction in
gesture, score study and inner hearing must be supplemented. To this end various
philosophies, methodologies and approaches have been incorporated both as part of the
Taken from within the field of music and from without, most of these approaches seek to
bring forth either a deeper experience of aspects of the musical score and its performance,
CHAPTER THREE
conducting, the gap between aural image and physical action must be addressed as a
and approaches have been applied both as part of the conducting curriculum and as part
of general musicianship training. One can see that conducting texts often, out of a sense
The answer may partially lie in developing these abilities from the perspective of
example and unconscious effort, models those skills within the rehearsal setting. Rising
from within the ranks of the ensemble were great conductors such as Pierre Monteux,
Gerard Schwarz, and Arturo Toscanini. Certainly, learning through observation is part of
the rationale for requiring multiple semesters of ensemble participation as part of nearly
every music education degree program. However, the seemingly intuitive ability of a
Monteux or a Toscanini may be more in line with the Leopold Stokowski’s assertion:
“conductors are born, not made. No amount of academic training can make a real
conductor out of someone who is not born with the necessary qualities.” (Bamberger,
p.202) However, Stokowski subsequently softens this terse statement slightly: “But
musical education and general culture are of inestimable value to the born conductor.”
(Bamberger, p.202) The age-old debate of nature versus nurture is at the heart of
29
Stokowski’s comments, but his admission that education can make a difference is a
generally) underlies the rationales for inclusion of courses offered music programs. Most
programs require a certain amount of music theory, ear training, sight singing, and music
history in the shaping of musicianship. Many institutions treat these subjects in isolation
from the active nature that is demanded in performance, especially that of the conductor.
This knowledge is not useless by any means; it is a pool from which musicians draw to
make informed interpretative choices. What is sometimes found lacking is the connection
to the role of the conductor. Some of have sought other means to bridge this gap between
knowledge and action through employing methodologies focusing on the physical aspects
of performance.
in training the special relationship conductors must cultivate in the bodily expression of
music through gesture and are becoming widely adopted. Taken from within the field of
music and from without, these approaches seek to bring forth a deeper experience of
aspects of the musical score and its performance or a greater control of gestural
vocabulary. While some focus more on gestural theories and the refinement of efficiency
in motion, others additionally strive to train inner hearing and music literacy skills though
physical means. These philosophies and methodologies are taken variously from within
discipline of musicianship training, or have been adapted for this purpose from outside
the traditional boundaries of the musical discipline. Spanning training from infancy to
30
adulthood, some of these methods and philosophies have been applied in a wide variety
techniques have been utilized successfully within the music education curriculum as full
The question of freeing and refining the physical gesture in the expression of
music by conductors and other musicians has rightly been the subject of a great number
of studies. With varied emphasis, these studies have explored the nonverbal semiotics of
everything from human facial expressions (Mayne, Van Weelden, Yarbrough) to the
application of the theories and methodologies in acting (Running). While there are also
(Schlomer) and Mosche Feldenkrais (Schlomer, Bonner) for the musician, many of the
recent studies have found a great deal of merit in the close affinity of the discipline of
conducting gestures.
Of those methods and theories most commonly explored from the field of dance
and movement for utilization in conjunction with instruction in conducting gesture are
Neidlinger, Stewart, Yontz) and Dalcroze (Pfrimmer, Dickson, McCoy, Mathers). The
types and amounts of literature addressing each of these philosophies vary greatly in
academic and research rigor, however there is ample justification for the inclusion of
each in this survey. The following is an assessment of the salient components of each
orientation, its general applicability within the field of conductor training, and a further
31
conducting pedagogy.
FRANCOIS DELSARTE
Francois Delsarte sought to establish “a scientific basis for lyric and dramatic art,
and after years of patient labor perfected a system on which probably his fame will
ultimately rest.” (Francis Durivage 1871, quoted in Zorn, p.15) His observations were
stage acting and opera as advocated by thespians in general and at the Paris Conservatoire
in particular. Delsarte blamed this faulty training as a factor that led to the collapse of his
were expressed in terms of his Christian beliefs through a Trinitarian orientation. (Zorn)
To Delsarte, the Father represented Life, the Son the Mind, and the Holy Spirit the Soul.
science and art, he derived three orientations of gesture: Movement around a center
(Life); Movement away from a center (Mind); and Movement toward a center (Soul).
(Zorn, p. 6) Delsarte himself applied the practical gestural methods derived from these
philosophical underpinnings, first in the area of music and subsequently in elocution and
actor training. His theories, which he gave the title “Applied Aesthetics”, ultimately
found proponents primarily in the disciplines of acting and dance. (Zorn, Shawn, Ruyter)
developed a method for characterizing physical posture, facial expression and gesture in
what he termed “The Ninefold Accord” (Shawn, p 30). Each action (pose, facial
32
expression, gesture) has three components corresponding to the orientations stated above:
Eccentric, Normal, and Concentric. These in turn are compounded to nine distinctions
the nine compounded attitudes or criteria. For example, in a seated posture, the attitude of
the legs and torso termed “Concentric-concentric” (equivalent to a leg forward and torso
and head leaning away) is interpreted as “defiant”; however, a posture where the same
Delsarte’s methods fell into disfavor through commercialization, abuse and “with
the advent of realism and naturalism.” (Dasgupta, p. 97) The misunderstandings and
misapplications may stem partially to the lack of writings on the method by Delsarte
observations through those who studied with him. However, in its attempt to define
posture and movement in increasingly more discrete terms, Delsarte’s work moves
beyond the singular attention to footwork adopted by prior thinkers in the realm of
choreography and movement, and in this respect his work serves as a foundation for that
RUDOLF LABAN
After a long evolving interest in the visual arts and stage design, Rudolph Laban’s
work led him into the realm of physical expression of the similar artistic intent through
human movement in the field of dance. Subsequent work with dance and choreography
led Laban to seek a more accurate and discreet codification of physical movement. His
Parisian studies from 1900-1907 placed him in contact with the work of Delsarte via
His seminal work in movement theory and notation, Eukenetics (1926), was the
result of his observations as both a choreographer and his work in the visual arts and its
definitions of balance, symmetry and weight. This work, which came to be known as
framework for the description of human movement. Using LMA (Laban Movement
Analysis) one can systematically look at a unit or phase of movement in terms of the four
major movement components: Body, Effort, Shape and Space. These basic components
can be identified and examined alone and in relation to each other.” (“What is Laban
In its ability to give succinct definition to the act of human motion and gesture,
Laban’s work has found application beyond the field of dance and into a variety of
activities where such definition can be helpful in improving performance. These fields
Lamb), and as has been discussed, in musical performance generally and conducting
specifically. Writings directly assessing the value of Laban in the teaching of expressive
34
conducting are by far the most plentiful in comparison to any other methodological
application addressed in this survey. A selection of these includes works by: Bartee
(1977), Poch (1982), Miller (1988), Benge (1996), Billingham (2001), Yontz (2001),
the conductor are effort qualities possible within the motion factors of Weight, Space,
and Time. (Schlomer, Stewart, Yontz) “The components making up the different effort
qualities result from an inner attitude (conscious or unconscious) towards the motion
factors.” (Laban and Ullman, p. 11) Laban’s definition of effort involves the expending
of energy in general, and comprises many gradations of intensity, unlike the traditional
Ullman, p. 169) Laban conceptualized eight ‘basic effort actions’ that are combinations
of time, force and space. They encompass a wide variety of descriptors including: ‘Press’
(slow, strong, direct), ‘Wring’ (slow, strong, indirect), ‘Glide’ (slow, light, direct), ‘Float’
(slow, light, indirect), ‘Punch’ (quick, strong, direct), ‘Slash’ (quick, strong, indirect),
‘Dab’ (quick, light, direct), and ‘Flick’ (quick, light, indirect). (Miller, p. 35)
gesture and posture, much as Delsarte had previously: “Laban extended the interlinking
of gesture with mental attitudes in his later years of movement research for actors and
dancers when settled in the United Kingdom after fleeing Germany’s Nazi regime. By
1947 he had published “Effort” with F.C. Lawrence, one of the first British management
Later in Laban’s text, The Mastery of Movement (1960), published posthumously by his
35
wife Lisa Ullmann, Laban names a set of ‘Inner Attitudes’ linking Carl Jung’s personality
types of Sensing, Thinking, Intuiting and Feeling with motion factors.” (Hayes, p. 5)
Laban’s work was drawn from his philosophical stance that the physicality of
dance was primary in man’s formulation of musical and other forms of expression.
“Spoken drama, and musical dance are, however, late flowers of human civilization.”
(Laban and Ullmann, p. 4) Indeed, it was his contention that the genesis of all art and, in
large measure, the capacities of intellect lies within the domain of the kinesthetic. (Seitz
servitude he felt had been applied to the art of dance in relation to that of music.
Although much of his work seemingly allies with both Delsarte and Dalcroze, Laban and
some of his proponents would argue that the origins of his insights into gesture come
from an entirely unique set of orientations not linked to those of either Delsarte or
Dalcroze (Foster).
While Laban’s descriptors of effort and motion are generally seen as highly
useful in obtaining a desired effort and gesture, to be useful for the conductor these
evocations must first be determined from the musical substance to be conveyed. In this
intention, then translate that intention into an appropriate effort quality and attending
physical gesture. Many researchers have commented on the gestural freedom generated
from the addition of Laban studies to the conducting curriculum, but establishing the
connection of music to movement may be better served through initial study in the music-
EMILE JAQUES-DALCROZE
to the conducting field has had seemingly much less inquiry. This relatively small body
of work focusing specifically on the field of conducting is curious given the nature of
Eurhythmics has been adopted in the musicianship training curriculum of many highly
regarded university schools of music. Primarily in the eastern United States, these schools
include Oberlin College Conservatory, the Longy School of Music at Bard College, the
Cleveland Institute of Music and Eastman School of Music among others. When viewed
in this context, the seeming dearth of studies related to the application of Dalcroze
philosophies to the study of conducting gesture and its connection to inner hearing is
puzzling. A possible reason may lie in the difficulty of the diverse nature of Dalcroze
training and the qualifications necessary to become a fully licensed practitioner of the
may indeed require a significant investment in terms of time and effort, the overall
precepts presented in Dalcroze’s work are highly adaptable. The underlying foundations
of the philosophy are widely applicable and harmonize with contemporary learning
theories regarding intermodal instruction. Given the eclectic nature of music education
ideas applied to the field of conducting. The diversity inherent in this philosophy should
(application) are essential attributes which should be taken as a solid testimony to its
conductor training yields several journal articles (McCoy, Dickson), a paper presented at
(Mathers 2008). These writings vary greatly in application and depth, with only Mathers
supplying any large degree of academic rigor through the inclusion of a survey gaging the
Albert Pfrimmer
Earliest among those who have advocated for the application of Dalcroze
the Conservatory Orchestra and work in Eurhythmics courses prompted his observations
emphasized the method’s key components and their relationship to the role of the
conductor. For Pfrimmer, the method “accentuates and intensifies rhythmic sense,
sharpens the hearing for harmony and for phrase, strengthens the musical memory, and
develops the ability to express, through mime [or plastic], a form of body expression.”
(Irwin, p. 269) In addition to the development of these musical faculties, Pfrimmer points
to the increased lateral independence gained through study in the Dalcroze method.
(Irwin)
conductors of the Nineteenth Century to illuminate the essential skills trained through the
the artistic element” (Irwin, p 269) Pfrimmer cites Liszt’s view of the conductor as an
agent of influence and not just merely in the sense of time beating: “We are helmsmen,
not oarsmen!” (Eckhardt, p. 10; emphasis is Liszt’s) The implications for conductor
training stem from the Dalcrozian ideal that physical manifestations of the musical do not
merely portray the musical surface but that the deeper elements become manifest.
(Dalcroze 1900) The helmsman is guided by a larger vision of destination and goals in
mind, whereas the oarsman is simply motivated in his work only in the moment-by-
moment physical task at hand; an applicable picture of musical motivation from the
podium.
39
John Dickson
kinesthetics”, John Dickson relates the applicability of body motion in the training of
musicians generally and the broad acceptance of such training by the music education
establishment. In Dickson’s view, however, these methods have been utilized too
narrowly in scope and have been “relegated to the education of the youngsters learning
Movement has not generally been used with adults or with conductors.” (Dickson, p. 15)
training courses to the acquisition of rudimentary skills without deeper connection to the
elements of musical “shape, flow and direction” (Dickson, p. 15) Dickson advocates for
the benefits of kinesthetics in sensitizing students to the inner musical motivation which
leads to physical gesture rather than a set of “programmed responses.” (Dickson, p. 15)
15)
in the classical training of dancers: “There are some who possess the necessary physical
(Dickson, p. 15 from Dalcroze, 1922a) Dickson expands his quest for an interdisciplinary
rationale through the poetry of W.B. Yeats, finding in Yeats: “a wonderful sense of
philosophical questioning as he weaves in the poem a sense of lilt, sway, and ultimately,
From the general topic of kinesthesia in the arts, Dickson moves to the specific
the historical background leading to his insights. Dickson’s own dissatisfaction with the
teaching of abstract gesture “divorced from the music making process” (Dickson, p. 16)
finds a kindred desire for mind-body connection in Dalcroze’s creation of the system of
Eurhythmics.
finds a psychological basis for Dalcroze’s insights into the accessing of deeper levels of
musical cognition made possible through kinesthetics. Alperson believes the process of
incorporating the Felt (right hemisphere) and the Symbolic (left hemisphere) in which the
interaction between the two domains reinforces each other. (Dickson, from Alperson, p.
159) Dickson finds that, “when we distance ourselves from the experiential body process,
we literally cut ourselves off from the kinesthetic and sensory input on which we rely to
determine our various sensations.” (Dickson, p. 17) Dickson applies these philosophical
response to music, Stage II, the conceptualization of music and its application in gesture,
and Stage III, the incorporation of kinesthetics in the music making process.” (Dickson,
p. 17)
Stage I involves active listening and physical response to music performed for the
students, mostly through recordings. Students are encouraged to move in ways that mirror
41
the music with time for discussion of those physical responses. Dickson describes what
performances, where the students’ imaginations are allowed to express outwardly the
motivation they receive aurally. There are no right or wrong answers, only exploration
Stage II moves the focus from responding to the performance of others into the
the students move into an exploration of the three D’s of “design, direction, and density.”
(Dickson, p. 18) By studying the musical score, students are asked to discover the
design, or shape of the musical phrase in question. They are then directed to “trace, either
on the blackboard or in the air, the contour of musical lines. By visually graphing lines,
the inherent shapes of phrases come into focus.” (Dickson, p. 18) The next step is to
allow this perception of the musical line to influence the basic conducting patterns in way
that not only maintains the pattern, but also conveys the essence of the musical shape.
The second musical element students explore is the spatial direction of the phrase.
Stage I, however the musical flow now comes from an internalized conception within
rather than that received from without. Dickson encourages students to further modify
traditional patterns to reflect the linear movement and direction of the musical flow and
deemphasize even more the aspects of conducting as time beating. “One of the most
significant results of the awareness of direction is a new sense of lift. The recognition that
the vast majority of music moves ‘up’ or ‘away’ rather than ‘down’ or ‘toward’
42
18)
imagined in terms of the medium through which the musical design moves through space.
accompany the mental imagery painted by the metaphorical levels of viscosity through
which the music flows. In this way, Dickson further advocates for a Dalcrozian concept
Dickson adds a further dimension through the transfer of the previous stages to
the ensemble members in the rehearsal process. Stage III exercises involve a utilization of
the example of Handel’s chorus “Praise the Lord”, he describes a sample of metaphor and
movement by the performers in the rehearsal setting. He describes the usual interpretation
as static: “To correct this, I often combine imagery and motion, asking singers to imagine
the seven dwarfs from Snow White heading home after a ‘whistle while you work’ kind
of day. The response is a vigorous swinging of the arms and broad stepping to the quarter
notes, followed by carefree skipping and gentle sway. The innate energy of the theme is
Claire W. McCoy
training” is a direct advocacy of the benefits of Dalcroze’s work applied to the field of
conducting pedagogy. This advocacy stems from her work at the Ohio State University
and the University of Minnesota in Music Education and Conductor Training, as well as
her work as an adviser to school orchestra programs in the Upper Midwest while serving
conductor training (via Miller), McCoy redirects her discussion toward Dalcroze
Eurhythmics as “an even more comprehensive approach to the training of the body to be
a vehicle for musical expression.” (McCoy, p. 21) In Eurhythmics, McCoy argues, the
music and movement are integral to one another; “Eurhythmics is a process of education
in music that engages the whole body in response to music” (McCoy, p. 21; italics are
McCoy’s)
The goals of Eurhythmics are grouped into three categories: 1) mental and
emotional, 2) physical, and 3) musical. (from Abramson, p. 35) McCoy derives a set of
more detailed goals from these general goals, relating each to the role of the conductor.
(McCoy, p. 21-22) She places special emphasis on the interrelation of the physical and
critical to the communication of tempo, articulation, and dynamics. For the conductor, the
kinesthetic experience of the music for the conductor and a visual map through the music
for the ensemble.” (McCoy, p. 21) By accessing the musical via the physical, McCoy
contends Eurhythmics is a means by which conductors can understand and feel these
McCoy details some of the ways Dalcroze’s philosophy can manifest itself in the
and one mental, are given as examples of the application of Eurhythmics. The
exercise of pulling an imaginary rope attached to a bell. (Ehmann, p. 117) The students
are to imagine larger and larger bells being rung, thus engaging larger and larger muscle
groups and movements in the process. As the size of the bell and movement increases, so
too do the elements of time, energy and weight required to complete the action.
rhythmic canon, where the students are performing a rhythmic pattern while
simultaneously listening for the next pattern in four beat successions, with the instructor
monitoring for complexity. Ideally, these sorts of canons will involve large-motor groups
and will become progressively faster, more complex through the shortening or
lengthening of metric groupings only when students have sufficiently mastered the
basics.
preparations” (McCoy, p. 22), which she aligns with the Dalcrozian concept of anacrusis.
scheme beyond the placement of the following crusis. “[Dalcroze] postulated that the
45
proper feeling and movement for the anacrusis, whether it was written out or occurred as
rests, determined the performance of the subsequent part of a rhythmic group, period,
phrases and even larger sections of music. This fact is particularly apparent to conductors
who must realize that it is their preparatory movements that determine the following
sounds of the orchestra or chorus.” (Moore, p. 75, cited in McCoy, p. 23) McCoy
McCoy offers a variety of games and activities that are designed to embody the
using movement, gesture and manipulative props. All suggested exercises are predicated
1) Rhythm is movement.
2) Rhythm is essentially physical.
3) Every movement involves time and space.
4) Musical consciousness is the result of physical experience.
5) The perfecting of physical resources results in the clarity of perception.
6) The perfecting of movements in time assures consciousness of musical
rhythm.
7) The perfecting of movements in space assures consciousness of plastic
rhythm.
8) The perfecting of movements in time and space can only be
accomplished by exercises in rhythmic movement
(McCoy, p. 23 from Dalcroze 1921, p 83)
validity through her introduction of exercises utilizing Eurhythmics within the Music
Education and Conducting courses she taught and the benefits these experiences lent to
her students. While such evidence regarding the effectiveness of Dalcroze training in
experiences.
Andrew Mathers
during the training of students and the perceived benefits of using these methods. Using a
simple survey instrument consisting of the instructors ranking the use and effectiveness
attitudes and opinions. The relatively small sample obtained and the lack of familiarity of
over half of that sample with multiple methodologies, let alone with experience in their
within various control groups, Mathers’s methodology is not so much a classical clinical
musicians are often the basis for assessing effectiveness in instruction and musical
guide to the prevalence of the employment of the various allied fields (Dalcroze, Laban et
47
taken as both valid and valuable, albeit empirically and geographically limited.
SUMMARY
Given the origins of Dalcroze’s insights from within the field of musicianship
recommended. More than any other of the approaches mentioned earlier in the chapter,
Dalcroze addresses not only gesture, but also its reciprocal impact on, and its origins in,
musical perception. Within Dalcroze’s philosophy, many of the specific issues facing the
ensemble conductor in terms of time-shaping, inner hearing and gesture are dealt with
through the music itself. The autotelic nature of this philosophy regarding the musical
challenges in conductor pedagogy strongly advocates for its inclusion in addressing those
obstacles.
In the interest of shedding greater light on Eurhythmics, its related tenets, and the
the derivation of the philosophical insights and the origins of Dalcroze’s theories follows.
48
CHAPTER FOUR
philosophy. His statement closely echoes the issues expressed in Chapter One of the
present work:
emphasis emerged: Eurhythmics, Solfége, and Improvisation. Each area incorporates (in
the literal sense, embodies) the student’s physical being, the surrounding space and
movement. By connecting the outward phenomena of sound and sight with kinesthetics,
Dalcroze found that images held within inner hearing could be externalized more freely
and aural perception more deeply internalized. Throughout his career, these early
observations were the basis for refining his precepts leading to a far-branching
Mead (1994) encapsulates the Dalcroze philosophy through the definition of four
1. Eurhythmics awakens the physical, aural, and visual images of music in the
mind.
2. Solfège (sight-singing and ear-training), improvisation, and Eurhythmics
together work to improve expressive musicality and enhance intellectual
understanding.
3. Music may be experienced through speech, gesture, and movement. These
can likewise be experienced in time, space, and energy.
4. Humans learn best when learning through multiple senses. Music should be
taught through the tactile, the kinesthetic, the aural, and the visual senses.
(Mead, p. 5)
EURHYTHMICS
At the core of the Dalcroze philosophy is the belief that physical experience is a
means of directly accessing the mental, and the mind and body are inextricably linked in
the learning process. Dalcroze explains the relationship between body and mind: not only
50
is there a physical gymnastics but “there is also a purely mental gymnastics intended to
experiences and only together do they create deeper learning. “The spontaneous rhythms
of the body have synchronous mental rhythms to collaborate with them. Whenever there
is a change in a mental rhythm, to restore balance the bodily rhythm must be modified
and vice versa. Unfortunately, the balance between the two rhythms is generally
compromised by nervous oppositions. The bodily rhythm, thus uninformed, cannot adapt
itself to the mental rhythm; the mind combats matter. Hence disorder throughout the
organism, disharmony of the various parts of the individual, depriving the psycho-
In Dalcrozian philosophy, the physical exploration of space plays a key role in the
intellectual understanding of rhythm. The principles outlined follow closely the science
of physics and comprise a personal experience of the laws of motion and effort: “Any
we wish to repeat it in a different tempo. A line traversed by a limb in a given space and
time becomes shorter or longer according to the degree of energy required to make the
influence on the balance of the body that it must be inevitably accompanied by an entire
series of correcting efforts made by muscles that either helps or hinder. Any error in the
transmission of cerebral decisions brings anarchy into the muscular system. All resistance
51
in the nervous system disturbs the brain, and any error of the brain disturbs the nervous
system. In a word, the many factors of our life of movement act co-operatively.”
In corporeal terms, Dalcroze explains the role of the body as individuals come
into contact with the world outside themselves and the need to explore those
understandings in terms that proceed from the external (natural laws) to the internal
(understanding). “If we are aware that the science of rhythm consists mainly in fixing the
laws of balance and economy, and if we make the needed effort to humanize this science
in such fashion that we feel it vibrating and thrilling in our own body, as a living part of
ourselves, we shall have much less trouble and difficulty in studying its many problems.
We shall also expend less time, for we shall be able to economize and balance will and
strength, to establish the right relations between strength and time, between time and
Dalcroze’s insights are closely aligned with Piaget’s theories of cognitive and
affective development. These theories of the development of schemata for the concepts of
the concept progresses through further contact and context into the state of concrete
operations, where it can be applied primarily in physical contact with the material,
physical object present. The stage of formal operations begins when the object’s physical
52
presence is no longer necessary to fully conceptualize its nature and attributes and the
object can undergo any number of manipulations within in the mind. In musical terms,
this formal operational stage represents the skills of inner hearing and aural imaging seen
as critical to the conductor by Kahn, Scherchen, Prausnitz, Garofalo, and Battisti et al.
This view of the initial acquisition of intellect through tactile and kinesthetic contact with
SOLFÉGE RHYTHMIQUE
proper, one of the key aspects of Dalcroze’s work deals with pitch training through
solfége. Improving aural acuity and the acquisition of a fuller understanding of musical
function was a primary concern for Dalcroze, as outlined in the genesis of his work
above. This concern in the realm of pitch developed into Dalcroze’s approach to solfége.
and ongoing assessment through observation that occurs as a lesson unfolds. The
flexibility to meet the needs of the student at that moment does not negate the existence
content of Dalcroze solfège as it is taught in the United States.” (Thomsen, p. 69) Key to
the approach is the following set of characteristics: “1.Exercises should have a rhythmic
Dalcroze believed that the experience of whole and half steps was key to this
understanding (c.f. Kahn). “Not before [the pupil] can unhesitatingly pick out this
53
a further subject of study.” (Dalcroze 1905, p. 30) The belief that physical reaction and
beyond the ability to intellectually identify and label the interval. The most natural is the
ability to listen and vocally imitate what is heard, assuring a modicum of assimilation.
Most Dalcroze instructors also employ an outer physical representation of the concept in
conjunction with vocalization. The use of a closed or open hand, taking an appropriate-
sized step, or other physical representations of the musical space is part of the expression
of cognition. Alternative bodily depictions of the aural sensation of tone and semitone
can be made through cooperative experiences: “partners stand close together for half
steps and farther apart for whole steps. Interacting socially, learning from classmates, and
From this point, the students’ experience of tone and semitone move into diatonic
contexts through scalar motion utilizing combinations of whole and half steps. These
(dichord, trichord, tetrachord, etc.) comprising patterns that would be found in the
diatonic system, with an initial avoidance of chromaticism. Instruction in scales and keys
proceeds through the assimilation of the shorter patterns of trichord and tetrachord to the
combination of the various species of each into longer patterns comprising complete
scales. The Dalcroze solfége approach advocates always starting with the note C
regardless of the tonic note, with some of the rationale being the acquisition of perfect
pitch, that the octave C-C is comfortable for the majority of voices present in any class,
54
and to illustrate tonality is not dependent on starting pitch but is generated through the
relative placement of tones and semitones. (Dalcroze 1930, p. 135; Thomsen, p. 72)
After establishing the key of C major, the class then moves to singing entire
scales in the range of C to C. This can be achieved through the application of a key
signature and adjusting the affected note by semitone in the appropriate direction. This
process creates differing modal patterns of tones and semitones sung from C to C yield
all twelve keys (with the accommodation that C must become C# once in it required).
Part of the process involves the singing of each pitch on a neutral syllable, but as the
establishment of both absolute as well as relative pitch are also concerned, Dalcroze’s
solfége approach also applies fixed solfeggio as well as scale degrees. (Thomsen, p. 68)
By advocating the singing of scales (and melodies) using fixed Do, the goal of
sound with a syllable. (In the Latin-language countries, the debate with reference to fixed
do verses movable do is a non-starter, as the syllables are the convention by which pitch
is named, just as in the “Germanic-language” countries letter names serve the same
purpose. In this way, letter names could serve as a substitute for the fixed do convention.)
patterns of those degrees is perhaps of greatest importance in the training of the inner
sense of hearing. Resonating with the musical structural theories of Heinrich Schenker,
Dalcroze’s belief in the organicism of tonal music practice makes clear his view of these
implications. “Suffice it to say that all the tonal elements of music may be studied at the
outset by the sole means of that international melody called the scale. Chords,
counterpoint, modulation, design and form: all is contained in this melody and may be
55
explained by it.” (Dalcroze 1930, p. 139) The construction of the tonal patterns within the
C-C scale regardless of key, is confirmed aurally by the application of scale degrees in
the Dalcroze approach. Students are encouraged to seek the aural and physical sensation
of the tonic when singing scales in a C to C context, pausing on and improvising patterns
confirming cadential arrival when the appropriate sensation of rest is created through the
combinations and sequences whole- and semi-tone patterns. When the tonic is identified,
the exercise continues the exploration of the key through a shift away from the singing of
David Frego, founder of the Dalcroze Research Center at the Ohio State
expressed in Solfége Rhythmique and Eurhythmics. These expressions take the form of a
physical synthesis of the musical impulses stored in the mind through movement and in
musical terms through improvisation. Both display the student’s ability to draw on stored
musical and kinesthetic images in order to manipulate and express them in the physical
world of the body and sound creation. Dalcroze designed exercises consisting of a series
56
of physical state changes, scripted at first, aimed at freeing movement and returning it to
an organic, effortless and plastic condition, with the end goal of spontaneity in action and
reaction. These exercises place special emphasis on the “natural relations between
gamut of human gesture and kinesthetic experience. The technique strives to incorporate
not only “all the muscular possibilities of contraction and expansion, [but also] every
shade of energy and duration.” (Dalcroze 1930, p. 15) In Dalcroze’s view, many
selective physical activities, such as the movements found in a single sport. (Dalcroze
narrowness of the gestural palette available to the student. In the Dalcrozian reciprocal
view of mind and body, this may also translate to a resulting narrowing of musical
cognition and aural imaging ability. The exercises are to be performed with as little
clothing that allows for freedom of physical gesture. “The man who walks easily in a
loose jersey and without footwear, cannot move with ease when wearing tight-fitting
One of the goals of the technique of moving plastic is to attune the inner ear and
formation of gesture. “The body, constantly under pressure, should also be constantly in a
state of effortless motion and evolution according to the idea originating in the brain, and
57
should react unresistingly to the spontaneous promptings of the fancy; and that,
conversely, the instinctive rhythms of a body freed from all intellectual control will
enrich the imagination and increase the manifestations both of will and of whim. This
technique of reaction as well as of action may be compared with that at the disposal of a
fencer, though, instead of being specialized in one of two limbs, in necessitates the co-
operation of every part of the body. The acquisition of this technique is the result of a
series of extremely complicated actions. Indeed, it takes for granted not only the practical
knowledge of all the muscular possibilities of contraction and expansion, in every shade
of energy and duration, but also the continual collaboration of the nerve centres, as
controlling faculties, with every limb of the body, with each isolated part of that limb,
with each association of that limb (or one of its isolated parts) with one or more other
composition and improvisation is to impart the freedom to express what the mind has
acquired through the body in equal reciprocity. To this end Dalcroze cautions against
over-reliance on the prescriptive use of consciously imposed gesture, instead stressing the
wholly on pantomime. In the lyric domain, on the other hand, we are dealing with a quite
intimate permeation of the emotional essence of music. The classical unity of the
dramatic musical product, the fusion of gesture, music and word, is at present realized
only in exceptional cases, for though music and word, though word and gesture, are
58
closely blended in certain works, it is far more rare to find communion between gesture
IMPROVISATION
means to instruction and as an end to assessment of student learning and the assimilation
exercises his innate powers of expression and creation. He who is able to express himself
succeeds all the sooner in expressing the feelings of others.” (Dalcroze 1930, p. 140)
Improvisation, then is not only a musical-creative process, but also a means of defining
syntax and structure that leads to fluency and comprehension. Research linking increases
in reading comprehension scores with daily expressive writing prompts analogizes with
this point of utilizing self expression through composition (or its spontaneous equivalent
creating a fluidity of attention and a plasticity in the body.” (Boyarsky, p. 15) Students
of pitch, but also of the dynamic energy and the varying rapidity of the movements.
59
These nuances must be appreciated not only by the ear but also by the muscular sense.”
instructs the student to change some action at a specific moment in time, a previously
determined beat, or as soon as possible after realization. The signal can be auditory
(pitch, harmony, or percussion), visual, or tactile, and the response is a motor reaction
(movement or immobility) that keeps the pupil engaged, flexible, and awake. It
demonstrates effectively which student has understood and processed the material”.
(Boyarsky, p. 16) The level of sophistication of the prompt can vary significantly as the
student’s musical comprehension increases—from a simple stop when the music stops to
“when you hear a Neapolitan chord stop everything and kneel.” (Boyarsky, p. 17)
training, students are often encouraged to improvise melodies given the pitch materials
trichord on C D and E. In addition to 1-2-3 and 5-6-7 “the third possibility for DRM
[CDE] as 4–5–6 could be introduced with a melody such as that in Figure 10.”
“Once all three possibilities for the species 1 [whole-whole] trichord have been
introduced, students can improvise melodies beginning DRM, but without identifying for
the class what they intend. This way, both the improviser and the other students are
60
actively engaged in ear training”. (Thomsen, p. 74) The depth of assimilation required in
the process of improvisation involves not only the higher cognitive levels associated with
creativity, but a full internalization of the concept of the shifting context of tonic.
contexts, but also for the instructor’s design, flow and implementation of material.
experimentation for the instructor developing exercises for exploring the connections of
mind and body. (Bachmann, Thomsen, Neely) The application of Dalcroze’s techniques
of integration of movement and music can find application in a wide variety of ages and
specifically on those faculties which enable us to act, react, and adapt to the surrounding
world in order to cope with it to best advantage. It can therefore work for anyone, at any
place, regardless of his or her age or ability, or of his or her personal problems, whether
known or unknown. In other words, it demands no particular a priori talent on the part of
anyone approaching it, except those who are studying it in order to teach it to others.”
(Bachmann, p 21) All based in the general philosophy of incorporating the kinesthetic
experience of motion and space, Bachmann describes three very different approaches to
initial pupil exercises which demonstrate the importance of the “two-way adaptive
presumably recreational class of adults interested in exploring music solely for pleasure
and enrichment. This sort of class is in line with Dalcroze’s belief in the concept of the
61
“perfectible adult” (Bachmann, p. 21) and the enrichment Eurhythmics could provide to
even those with disabilities. (Maneveau, p. 184), and is held apart from the application of
the concepts for the training of teachers, musicians and specialists in movement.
(Bachmann, p. 22)
Within any given class structure, a teacher has an array of initial choices to make
in the way of an introduction to the overall subject of mind-body alignment. The scenario
Bachmann describes begins with an invitation for the pupils to walk freely about the
room, without the accompaniment of music. In the course of walking, the pupils are
asked to become aware of their individual pace and that of the others in the class. From
here, the instructor asks that each student should try to match the pace of all those
entire class has reached a common pace, the instructor may then begin to improvise a
variety of modalities, primarily visual and auditory. These cues are then given large-
musicians, where visual cues (notation, the conductors gestures) are interpreted and elicit
(physical motion and sound creation). In the case of adults with little or no musical
unfamiliar space together for the first time. The first order of business in this case
involves an exploration of the space and its novelties. Bachmann’s classroom is replete
with a disused fireplace, a bench lining one of the walls, and a recessed space in one of
the walls. Observing the curiosity of the children, the instructor brings the attention of all
to the various novelties of the room. Through a series of pantomimes, the children are
encouraged to imagine the space in various fanciful settings and make use of the space to
Through this seemingly capricious exercise, the students are not only made more
comfortable with their learning environment and are beginning to interact constructively
with one another and the instructor, but they have been initiated into a great many
psychomotor activities as well. “We have exercised our muscles and our sense of balance
(jumping from the bench); raised our voices; blown things (imaginary fire building) and
overcome obstacles; we’ve experienced silence (sneaking into the cubby hole) and tried
to squeeze ourselves all into a confined space.” (Bachmann 2002, p. 38) In essence, the
children have exercised their ability to imagine scenarios and objects not physically
present, an imaging skill that can also be applied to musical objects as well when the time
is right.
revisit the various spatial locations and the imaginary activity associated with each as
well as the type of locomotion to move between these stations. “We confidently walk
towards the stove; we rush across the room to be the first to jump; we tiptoe along to our
63
hiding-place again.” (Bachmann 2002, p. 38) The actions and locomotion take on greater
connection with the piano improvisation due to their cross-associations and greater
mental fixation is facilitated and reinforced through music and kinesthetic learning. This
double feedback creates the “joint mobilization of mind and body” which Dalcroze
assumption that the pupils involved would possess musical and vocal training and
internal singing. Each participant was asked to think of a song that they knew well and
was likely to be known well by at least a majority of the other participants. They were
asked to keep their choice a secret while singing the first verse internally for at least two
or three times without skipping either word or pitch. In way of a commentary on the inner
hearing of many in the group, Bachmann states, “This turned out to be a novel experience
for most of them, and required no little concentration on their part.” (Bachmann, p. 38)
Once it was felt that the majority of the participants had sufficiently internalized
their selection, they were encouraged to “let the song ‘move’ them—literally—until the
whole song was welling up inside them”. (Bachmann, p. 38) Given the similarities in
cultural and professional background, it was Bachmann’s initial intention that many
would have chosen the same song and this would have become apparent to the
participants who would have been encouraged to seek those expressing the same music to
congregate together.
64
being expressed as there were participants, with no real discernible consensus forming. In
physical expression of inner musical cognition by asking for a few of the most
would stand before a segment of the other participants and have them venture guesses at
the musical selection. “One of the songs was picked out almost immediately, though it
was by no means the best known. Even before its first performance was at an end, the
whole group was singing it, having (so to speak) hauled themselves aboard the moving
Other songs were less readily identified, with guesses being ventured that bore
certain similarities. Through trial and error and discussion of the salient characteristics
displayed in the physical gestures, the participants were able to correctly name each song.
Although the process was not the original intention of the instructor, the principles of a
Dalcrozian lesson flow were evidenced at all times in the proceedings, and the following
discussion of the conventions of choral directing and inner musical expression were
found to be worth the adjustments made to the original instructional design. The
instruction stayed true to the overall intention of seeking to “transform the whole
organism into what might be called an internal ear.” (Bachmann, p. 40, from Dalcroze
1898, p. 10)
feedback and observation that are the hallmark of the best in Dalcroze education. This
feedback and observation is also in evidence as well in the best practices of podium
65
technique and ensemble interaction. Dalcroze educator and pupil are in a constant state of
improvisatory flow, reacting to one another through the musical and physical
The flow thus created has been described in psychological terms by Mihaly
Csikszentmihalyi and has at its root a set of ideal conditions. For Csikszentmihalyi,
choices” (Bachmann, p. 44). This flow embraces the freedom, focus and sense of safety
in the learning environment expressed by Csikszentmihalyi. “Once initiated into his own
responsibilities, the Eurhythmics teacher will have to select from the means at his
disposal those he considers most appropriate to his current situation. It is first and
foremost in respect to his own development (i.e., that ‘working upon himself’ that he has
carried out, as well as of the various areas which he ought to have mastered) that he must
be up to the task of making a certain number of choices.” (Bachmann p.44, italics are
advocated many of the authors on the score study and rehearsal processes (Prausnitz,
Garofalo, Battisti).
66
improvisatory manner and the application “those laws particular to a given temperament
which justify the bending of rules form the substance of truly original teaching, in which
musical subject and not just a capricious abandonment of the intention of the instructions
in the composer’s score. It is rather the freedom to explore pathways and improvise
commonly assert: the perception that the philosophy is too prescriptive in its exercises
and approach. Critics frequently point to Dalcroze’s “Rules of Nuance” to bolster this
view. Such treatises are a common product of musicians seeking to find a “grammar” and
common practice in the language in which they work. Dalcroze’s “rules” echo similar
the Art of Musick, 1749) among many others. While seemingly representing a
standardization of interpretive choice, many musicians would agree with the application
of these “rules” in a generic way as a starting point for developing nuance and phrasing.
(Casals, Jagow, p. 113, Caldwell, Neely) Balancing this criticism of the generic are the
previously quoted statements Dalcroze made on the “bending of rules” and revelation of
“personality” in the music education process. In this light, there is a respect for both
in Dalcroze; this balance can well serve musicians in any discipline, especially the
Differences in expression and interpretation are not only tolerated in the Dalcroze
extreme diversity of individual movements on the part of those who do the same
exercises together, to the same music. In other words, there are great differences of
interpretation of the same musical rhythms by different persons. This variety corresponds
exactly to the personal characteristics of the various pupils, and it may be interesting to
see why this individual factor, so striking in our classes, is absent in gymnastic or
military exercises where hundreds of individuals do the same movement in the same
SUMMARY
While the adoption of the Dalcroze approach has not been widespread in
institutions in the United States that have found great value in the philosophy’s effective
secondary schools of music from early in the history of the philosophy and the longevity
of these programs point to the wide-applicability of the philosophy. These programs are
geographically clustered in the northeastern part of the country, but encompass a number
CHAPTER FIVE:
TRAINING PROGRAMS
education has been widely embraced in this country for many years, mostly in the
widespread embracing of the methodology may have much to do with its perception as
However, there are a number of collegiate music programs that are making use of
study. These incorporations vary greatly in duration, design and emphasis with some
required for undergraduate music majors, some elective and others leading to certification
Dalcrozian solfége in the training of musicians in these programs flows seamlessly into
the topics most at the core of conductor training. With a solid foundation in the basis of
embodied music learning, students in these programs have the advantage of dealing with
the issues facing many beginning conductors early in their college program. By
addressing the topic of gesture as a manifestation of the score from the perspective of the
core curriculum, the demands of the podium are more of a re-contextualization than a
becomes an extension of musicianship training, a highly desirable path for any program
exemplar institutions under each heading. The impact on conductor training is not only
dependent on the breadth of application and required contact hours for degree
completion, but also on the depth to which the philosophy is evidenced in each situation
and carried into conducting coursework. Among the variables creating depth of
experience are items such as the strengths of the individual instructors, the intensity of
the individual sessions, etc. It is therefore possible that a one-time workshop may be as
approach.
One of any number of schools that invite guest clinicians on a variety of subjects,
Appalachian State University regularly brings in master teachers to explore aspects of the
field of music in greater depth or from varying perspectives. One recent clinician was
and Mr. Neely’s faculty sponsor for the clinic, “I recently had Stephen Neely, who's in
70
residency here at Appalachian, and the reaction was stunning. He's had similar results
with groups I've had working with him at my former position.” (Park, in an email
conversation dated March 17, 2014) These sorts of workshops form a large portion of Mr.
Neely’s work outside of Carnegie Mellon University and have led to greater
understanding of the benefits of Dalcroze study. “It is all about realizing where true
musicianship lies in ourselves. The body is the first instrument. The physical instruments,
or voices, or conductor’s batons are only there to serve as vehicles for sharing the music
that is first experienced in ourselves. The training provides concrete experiences in this
phenomena, giving the performers more tangible and clear goals to match when in live
State University. The Dalcroze Academy at Colorado State University is held every
summer in conjunction with Dalcroze School of the Rockies and the Professional Studies
Program at Colorado State University. Extension credits may be registered through the
university, but is not required for participation in the workshops. As part of a larger path
to certification and licensure, this coursework takes place outside of the normal academic
offerings at the school. In this respect, the Dalcroze Academy is a hybrid of workshop
and supplemental training that does not lead to the granting of a traditional degree.
mandatory unless extenuating circumstances will not allow. If this is the case, we will
71
need to make provisions to ensure that appropriate standards are being met. A minimum
of forty-five class hours of Eurhythmics study is required for certification, and seventy-
five class hours of Eurhythmics study is required for licensure.” (Dittus, p.4) A series of
approach.
The self-selecting nature of participation in this sort of course and the fact it is not
part of the normal academic structure of the university lessens the possibility of wider
this setting have likely already gained a broad experience with the philosophy and these
Hamline University
fulfillment of the Bachelor of Arts in Music. This sort of offering appeals to the eclectic
musician who may be curious about the philosophy and wishes to explore possibilities in
the sense of a Liberal Arts education. Falling outside the core music curriculum and
listing familiarity with note reading as its only prerequisite, the goal of offering Dalcroze
in this situation is not for the specific training of musicianship or any targeted skill
acquisition. Courses of this type are of great use in the general education sequence as an
included in APPENDIX 1.
While these types of courses are more accessible than those represented by
summer academies and workshops, they are again self-selective. Being elective, by
definition they exist within a spectrum of choices that may fulfill a component of the
course description may not be experienced in the same way as part of the general
music. The University of St. Thomas offers a degree-granting program for the Master of
Arts in Music Education with a Dalcroze concentration. “The curriculum features high
quality education in Eurhythmics, Solfége and Improvisation, and materials and methods-
all of which are highlighted in three one-credit courses per level of study. Dalcroze study
at St. Thomas introduces students to music education that trains the body in rhythm and
dynamics; trains the ear, eye and voice in pitch, melody, and harmony using fixed-do;
and combines Eurhythmics and Solfége according to the students' own invention, while
(URL:http://www.stthomas.edu/music/graduate/musiceducation/dalcroze/default.html
schools such as the Longy School of Music at Bard College, the Cleveland Institute of
73
Music, and Carnegie Mellon University. Collectively, these programs offer specialization
that would benefit those who wish to teach with a certification in Dalcroze Eurhythmics,
much like the summer academy at Colorado State University, albeit in what would seem
instructors, such programs are generally useful in spreading the philosophy through the
Thomas mentioned above, the following programs require Dalcroze coursework as a part
undergraduate level would seem to influence a greater number of musicians and find
The Longy School is one of the few schools surveyed that does not have an
undergraduate requirement in Eurhythmics for its music majors, though the school does
offer outreach and community classes in Dalcroze. Longy does offer courses in Dalcroze
pedagogy as part of its Master of Music program, thus giving a validity to the philosophy
instructional situations.
awareness and understanding. It utilizes the physical response to music, redefining the
coordination between ear, brain, and body to develop musicianship and musical
and melody leads to vital performance and teaching. Dalcroze is an ideal area of
74
specialization for the musician who loves many aspects of music-making: teaching,
performing, creating, dancing, acting. It utilizes all the arts in a workshop for musical
learning. Applicable to all ages and learning levels, it is suitable for the classroom,
private studio, special-needs class, music therapy session, or college theory class.”
Longy’s Master of Music programs and requires an additional third year of study as well
as two sessions of the Longy Dalcroze Summer Institute. Students focus primarily on
M.M. requirements during the first two years of the program but do take some Dalcroze
classes during their second year. The third year is devoted exclusively to Dalcroze
programs/programs/dalcroze-Eurhythmics/dalcroze-certificate-and-license/, accessed
4/20/2014)
level. This specialization is a stand-alone major and is not in conjunction with a major in
any other area and leads to a Bachelor of Music with Specialization in Eurhythmics
degree.
training for all undergraduate music majors, Carnegie Mellon expanded its offerings to
include certification and licensure in Dalcroze at the graduate level. “In 1968, the
and License. Since its inception, the Center, founded by Dr. Marta Sanchez, has attracted
students from all over the world. From 1999 to 2009 the Center operated satellite
programs in Taiwan; at the Nagoya School of Music in Nagoya, Japan; and in Korea at
accessed 4/20/2014)
Unlike the Colorado State University summer partnership with the Dalcroze
School of the Rockies, The Marta Sanchez Dalcroze Training Center (MSDTC) exists
program:
The Dalcroze Training Center at Carnegie Mellon operates throughout the year.
During the academic year, students may enroll in the Dalcroze program to pursue
the Dalcroze Certificate or Dalcroze License. They may also enroll in the program
in conjunction with a Masters degree in music education, performance, or
76
composition. During the summer, the Dalcroze Training Center offers a one week
workshop (Workshop I) and a conjoint three week workshop (Workshop II). Both
workshops offer classes at introductory and advanced levels. Both workshops
offer performers, conductors, music educators (preschool through college), studio
teachers, music therapists, movement specialists, actors and dancers practical
applications of Dalcroze principles for performance and teaching. A minimum of
two summer sessions of Workshop II, totaling 18 units or 6 credits must be
successfully completed before a candidate is eligible to take the required exams
for the Dalcroze Certificate. For those applicants who are prepared to pursue the
Dalcroze License an additional 18 units or 6 credits are required. Entrance into the
License Program is by audition/evaluation. (music.cmu.edu/pages/marta-sanchez-
dalcroze-training-center, URL accessed 4/20/2014)
generally and conductors specifically are programs which integrate the Dalcroze
philosophy into the graduation requirements for undergraduate music degrees. Not
surprisingly, these schools include many of those listed above that also specialize in
While the Baldwin Wallace University Conservatory is one of the few institutions
surveyed which does not offer a concentration in Dalcroze Eurhythmics as a major area
or certification at either the graduate or undergraduate level, the value which the
nonetheless reflected in its curricular offerings. The Bachelor of Music degree in all areas
for all majors and an additional course in advanced conducting is required for all music
education majors, furthering through application the foundations of movement and ear
Dalcroze studies as a part of the degree program for all undergraduate music majors and
also does not offer a degree program in Eurhythmics at either the graduate or
undergraduate level. Like Baldwin Wallace, Oberlin offers a two course sequence in
Eurhythmics, however the prerequisites given for the courses would tend to indicate that
Eurhythmics training is preceded by work in traditional courses in theory and aural skills,
Dalcrozian notion of music cognition, the rationale for the placement of theory and aural
incorporating Eurhythmics training for all students. As early as 1922, while Dalcroze’s
own work was still ongoing: “Dalcroze Eurhythmics took a central position at the
Institute, having been taught for the past ten years throughout Europe. The two-year
course in ‘the art of expressing musical ideas by means of bodily movements’ was a
requirement for all students at the Cleveland Institute of Music, as it still is today.”
Eurhythmics, plus a four-semester sequence of sight singing and ear training. Course
follow a co-curricular sequence in which the two areas conceptually complement one
another. This pairing of courses reflects the early adoption of Dalcroze’s teachings by the
institution. The longevity of this philosophical basis for instruction in the training of
“Carnegie Mellon was the first school in the country to establish Dalcroze
Eurhythmics training in the curriculum for all music students. All undergraduate music
curriculum.” (http://music.cmu.edu/pages/marta-sanchez-dalcroze-training-center
the credit weighting at Carnegie Mellon University, three units are equivalent to a single
SUMMARY
surveyed above, the adaptability of the Dalcroze philosophy is evident. Using one or
more of these scenarios as a starting point, Eurhythmics, solfége and improvisation could
find a place in the curriculum in any number of other institutional settings. Although not
level, the topics addressed in the course of conductor training are implicitly part of the
79
Dalcroze experience at these institutions. The intersection and amplification of the skills
possible curricular additions at Peru State College, with ultimate outcome being the
CHAPTER SIX
PHILOSOPHY
higher education has been demonstrated though its usage by well-regarded institutions of
musician training and the continuing assessment of such instruction as viable and
without regard to previous course sequence and structure. But, as this approach is bound
to have a somewhat disruptive effect on faculty, curriculum and scheduling, there needs
adoption of key tenets and aspects of the Dalcroze approach within and as an extension of
Initially, the key to any change in the status quo is the value of the faculty and
administrators to allocate the scarce resources of faculty load and student credit hours, a
clear advocacy must be presented. The main body of the previous chapters will hopefully
serve in this purpose. Secondly, there needs to be a willingness to implement the tenets of
the Dalcrozian philosophy by the instructors within the individual courses. The level of
adoption is contingent on experience and familiarity with the Dalcroze philosophy and
experiences. The depth to which this approach can be integrated within a course is not
necessarily predicated on instructors receiving this training, but is more contingent on the
remainder of this chapter is devoted to suggesting ways in which the philosophy could be
implemented at Peru State College with minimal disruption either through incorporation
into the fabric of the current course offerings, or through modification of the Music
wide range of courses and throughout the curriculum. As demonstrated earlier, the facets
have found their way into training at nearly every level of education and even beyond the
Application within the music curriculum at Peru State could readily take place
within course offerings in music theory, ensemble rehearsal, the applied studio, and
between pupil, subject matter and instructor, the parameters for application are broad and
leave much room for flexibility. While a cross-curricular adoption of the tenets of
approach would face the aforementioned challenges from administration and faculty in
A more reasoned and targeted approach in terms of immediate outcomes for the
conductor training program is to focus directly on those courses which most directly
impact future success on the podium. Taking into consideration those attributes expressed
by the authors surveyed in Chapter Two, the areas of rhythmic acuity, inner hearing and
physical expression should be fostered from the outset of musical training. These
attributes are to be further nurtured as a part of the conductor’s training for the podium as
the specifics of conducting patterns, baton grip, score reading, etc. are introduced.
To this end, the integration of movement into the Music Theory/Aural Skills
sequence should occur from the first semester of the freshman year. The rudiments of
conducting are thus introduced in a seamless fashion; movement becomes an integral part
of the music learning experience. In this approach, the physical expression of music will
gain a sense of organicism and the student will bring this uninhibited approach to the
podium when more formal conducting instruction begins. The essence of this orientation
is to infuse the musicianship curriculum with the foundational elements of gesture at the
heart of the conducting curriculum so movement becomes second nature rather than
remaining compartmentalized.
Theory/Aural Skills. This unified course incorporates music notation, analysis, sight
singing, and dictation. During the freshman year, this course is four credit hours each
each of those days. Music Theory III, the final course in the sequence, meets only twice
weekly for seventy-five minutes each day. Because this course is only scheduled in the
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fall semester of even-numbered years, some students are not able to register for the class
until their junior year, sitting out a full year of Music Theory as sophomores.
Currently, as is often the case in such courses, the greater emphasis tends to be
placed on the written rather than the aural aspects of music theory, with little accessing of
the kinesthetic domain within the course. A Dalcroze approach would necessitate a
reversal of the current proportion, giving more time to the experience of the real concept
(sound) rather than its representation (notation). This reversal would require flexibility
and rethinking on the part of instructors who may be used to working within the more
conventional music theory course structure of sight before sound. Inherently beneficial to
future ensemble directors, this reversal in emphasis would integrate more effectively with
movement as an expression of both the rhythmic and pitch content of musical examples
are both possible and desirable. This may necessitate certain classroom reconfigurations
to allow for a more movement-based approach. The facilities in the Fine Arts Building at
Peru State College are well-suited to the addition of movement within the current Theory
Classroom itself with tables and chairs that are foldable and on casters. Clearing space is
not a difficult proposition, but easier still is the proximity of the Choral Rehearsal Room
that is constructed with a large flat floor and a single mirrored wall—ideal for conducting
ample whiteboard space with portions lined for music notation to facilitate instruction in
the interrelationship of the visual aspects of notation to the aural and kinesthetic
sensations of music.
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A single lesson in this unified approach may incorporate both traditional and
angles. The instruction becomes concept-driven with the goal to explore a musical
element physically, aurally and notationally within the same instructional period. A
natural flow between these differing realms of cognition and learning modality will lead
to a more thorough learning of the concept. The axiom of learning through doing is
evidenced not through mere repetition, but experiencing the same musical aspect from a
variety of angles.
CURRICULAR EXPANSION
Musicianship Sequence
knowledge, is to add a fourth semester of music theory (Music Theory IV). By adding a
fourth semester of coursework, Peru State would align more closely with other regional
curriculum. As many of these programs also require either a course in Aural Skills,
Solfége or Eurhythmics in conjunction with this sequence, the case could be made for
additional instruction in one or more of these areas at Peru State as well. This increased
musicians and is a critical component of a conductor’s skill set. In order to address the
needs of the student in the areas that are most necessary to conductor success, in addition
to the proposed four semester sequence of music theory, Peru State is in need of a similar
sophomore years would place increased emphasis on the aural, kinesthetic and
concepts and content; intervals, scalar patterns, key signatures, etc., would be approached
compared to the current schedule in which theory classes are held two or three times
weekly. This would amount to one third more time devoted to musicianship training at a
juncture critical for student success in the music major. The increase in emphasis falls
student greater opportunity to develop the critical skills of inner hearing. In modern
music learning theory, this aural acuity should ideal precede the introduction of
A further advantage of dividing the aural and written components of the music
theory sequence is an allowance for division of instruction. The courses can be taught by
separate instructors, capitalizing on the strengths of the faculty in the department. Given
the current faculty disposition in the area of theory, it would be an easy matter of utilizing
courses within a single time block. This consolidation into a single block grants the
86
opportunity for various recombinations on the basis of topic, and allows for other flexible
means of instruction to be exploited. If so desired, this block concept can also employ a
rotating schedule that facilitates the utilization of other faculty in the department to match
At this juncture, Peru State College offers only one semester of formal instruction
precisely where one would most often expect a more specialized course such as Choral
of the culminating experiences in the music education program, this existing conducting
course clearly demands that students should have at least some previous conducting
experiences. At the present time, these experiences are at best sporadic and most likely to
occur in the sight singing component of the music theory sequence, or as part of their
high school experience, if at all. Given this lack of consistency in instructional approach
and the general lack of student kinesthetic music experiences, delaying conducting
instruction until the end of the program of studies has proven less than satisfactory. A
proposed above, will lead to a deepening of music fundamentals, becoming in large part
piece in closing the gap in conductor preparation, another necessary transition to this
course. Since the previous Musicianship coursework will have already placed a great deal
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interpretation, the Beginning Conducting class structure will differ only in its
contextualization of these skills for the conductor. While all competent performers rely
upon those same essential skills, the conductor’s role becomes more of evoking and
evaluating. Within the Beginning Conducting course, the introduction of the more
specialized topics of baton technique, conducting gestures, score study, etc. will ideally
emerge as extensions of prior coursework and should not be dealt with as superficial
appendages.
lead seamlessly into the basics of traditional patterns would be emphasized. Carefully
crossing between the realms of more freely expressing music through improvised
gestures and standardized patterns, instruction would stress the underlying musical
rationale for physical expression. Dalcroze himself used both free and more structured
the normative structure of metric emphasis. (Caldwell, pp. 30-38) In the process of
in this regard, an introduction to the techniques of Plastique Animée would also serve
well to introduce the proper musical motivation for gestures conveying expressive
content.
(Caldwell p. 48-50) These exercises involve the virtual and real manipulation of the
body and space in reaction to musical and other stimuli. The idea is for the student to
become the embodiment of the music and the changing musical content. To maximize the
plasticity in response, Caldwell suggests that the music ideally be improvised, but a
recorded example that presents a regulated fluctuation of musical elements may also
suffice.
In his examples, Caldwell gives a three stage development sequence. The first
step is to awaken the body to response through manipulation of imagined ball of energy.
In asking the students to interact with a virtual object, the teacher can assess and
encourage students to explore its parameters in more creative ways than a fixed physical
object. Students are also asked to appropriately vocalize to match the energy flow they
are imagining and manipulating, passing the imagined ball among the members of the
group.
external aural stimulus, beginning with vocalizations made by the teacher. All students
move to and strive to bodily reflect the qualities of sound being created. Students are then
invited to take turns by vocalizing the aural stimulus while the rest of the class continues
The final step is to move to a composition with more defined musical attributes.
Students are again admonished to reflect the sound as they hear it, and maintain fidelity
to the actual performance rather than “what they think they think or want to hear.”
(Caldwell, p. 50) As stated previously, this is best accomplished when the musical
When incorporating such exercises into the Beginning Conducting class, students
are at a great advantage if prior work on the musical imagination and movement to music
has already taken place. In this way, the transition from responding to guiding becomes
more of the course emphasis, rather than exercises in merely miming to the music. While
these exercises in moving to music are valuable in gaging the students’ ability to
ascertain the essential qualities of the music being performed, the real work of conducting
is in the conveying of music held in the imagination. Further activities in which each
student leads the class through improvised and scripted musical experiences through
gesture alone can help bridge this gap between response and creation and lead to more
SUMMARY
numbers, providing an opportunity for curricular changes that will directly benefit the
students in the major fields of Music Education and Music Performance. Part of this
curricular change needs to address the remediation of basic musicianship skills, focusing
more heavily on aural acuity and rhythmic integrity. Through expansion of course
offerings in the freshman and sophomore level and the incorporation of the movement
and music philosophies such as those of Jaques-Dalcroze, it is hoped that student learning
capacity will be greatly increased leading to better prepared musicians and educators.
This expansion and pedagogical shift will have a particularly profound impact on
the department’s training of conductors and the student’s abilities to acquire and transmit
their aural concepts through gesture. It is hoped this training will give the graduates of
90
Peru State College the confidence in their skill and abilities as conductors and educators
While most of the literature on the direct application of Dalcroze in the teaching
of conducting is from the perspective of instructors such as Dickson and McCoy who
already utilize the approach, or is gathered from general surveys of its use in conducting
coursework, even these pieces have validity as a template. The lack of more
through the use of methodologies such as those applied in the many studies on the use of
conducted by Miller and adapted by Yontz, would provide a compelling case for the
instruction takes the specific form of Laban’s effort theories. Assessment in this case was
not of gestural competencies gained through Laban, but rather the benefits accrued in the
area of aural acuity—a priority Dalcroze explicitly expressed in the formation of his
philosophy.
Adaptation of these more empirical studies could be made to assess the same
parameters through the substitution of Dalcroze’s tenets for those of Laban with minimal
difficulty while maintaining the factors of measurability and validity. It is hoped that the
will find further advocacy through increased research into its benefits as an essential
Hamline University
Eurhythmics
MUTH 210-211
Usual Description
A study of music based on the principles of Emile Jaques-Dalcroze that engages
the moving body to develop the perception of rhythm, melody, phrasing, and
form. Other emphases include internalization of the rhythmic sense, development
of precision in ensemble work and of physical coordination as it applies to the
student’s performing medium. The class focuses on three components:
movement-to-music, solfege-Eurhythmics, and improvisation.
Credits: 2 Credits
Enrollment Limit: 12
Instructor: A. Otte
Consent of the Instructor Required: No
Prerequisites & Notes: MUTH 130 or 131, and MUTH 101, or the equivalent.
(accessed via URL: http://catalog.oberlin.edu)
57-161 Eurhythmics I
Fall: 3 units
Dalcroze Eurhythmics is a unique approach to music learning based on the
recognition that meaningful rhythmic movement experience, associated with ear-
training and improvisation, reinforces understanding of music concepts, enhances
musicianship, and focuses awareness on the physical demands of artistic
performance. All concepts are experienced in a musical context. Rhythm reading,
notation, analysis, and improvisation are integral to the course. Eurhythmics I
covers basic binary and ternary metric units and rhythm patterns in relation to
these metric units within simple and compound meters.
57-181 Solfege I
Fall: 3 units
This course improves the student's ability to analyze music aurally and to sing at
sight in traditional meters and tonalities using the "fixed do" system. Solfege is
the integration of the three cognitive skills: reading music, hearing music, and
writing what one hears. Section assignment is determined by a placement test
given at the time of the audition or prior to the start of classes.
57-162 Eurhythmics II
Spring: 3 units
Eurhythmics II introduces combinations of binary and ternary metric units, mixed
meters, changing meters, and notation and performance of cross-rhythms.
Prerequisite: 57-161.
57-182 Solfege II
Spring: 3 units
Continues 57-181 Solfege I.
Prerequisites: 57-180 or 57-181 or 57-185.
57-164 Eurhythmics IV
Spring: 3 units
Eurhythmics is a unique approach to music learning developed by the Swiss
composer and educator Emile Jaques-Dalcroze (1865-1950). It is a process for
awakening, developing and refining innate musicality through rhythmic
movement, ear training and improvisation. Through rhythmic movement, students
demonstrate knowledge and understanding of the expressive/interpretive as well
as the metrical/structural aspects of music. Sight reading, conducting, notation,
analysis and improvisation are integral to the course. Eurhythmics IV Course
Content: More complex rhythmic problems encountered in composed music,
Changing meters and changing metric units within a composition, Rhythm
reading of patterns using small note values, Messiaen rhythm techniques.
Prerequisite: 57-163.
57-184 Solfege IV
Spring: 3 units
Continues 57-183 Solfege III. Students learn to read atonal music and practice
three-part contrapuntal dictations as well as harmonic dictations.
Prerequisite: 57-183.
(http://coursecatalog.web.cmu.edu/collegeoffinearts/schoolofmusic/courses/
accessed 4/20/2014)
95
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