The Eurhythmics of Jaques-Dalcroze | Page 9

of observation and experiment. Now it began to be apparent that something still greater than the original aim had been achieved, that the system evolved was one which, properly used, might be of enormous value in the education of children. With characteristic energy Jaques-Dalcroze, inspired by the new idea, took up the study of psychology, in which he was helped by his friend, the psychologist Claparède, who early saw the value which the new ideas might have in educational practice. The change of outlook which now took place in the master's mind can best be made clear by a translation of his own words.[1]
[1] Address to students, Dresden, 1911 (Der Rhythmus, vol. i, p. 33).
"It is true that I first devised my method as a musician for musicians. But the further I carried my experiments, the more I noticed that, while a method intended to develop the sense for rhythm, and indeed based on such development, is of great importance in the education of a musician, its chief value lies in the fact that it trains the powers of apperception and of expression in the individual and renders easier the externalization of natural emotions. Experience teaches me that a man is not ready for the specialized study of an art until his character is formed, and his powers of expression developed."
In 1906 was held the first training-course for teachers; how the method has since grown can be realized by noting that a fortnight was then considered a sufficient period of training, whilst now the teachers' course at Hellerau requires from one to three years' steady work. In the years 1907-9 the short teachers' courses were repeated; in the latter year the first diploma was granted, experience having shown the need of this, for already individuals in all parts of the world, after but a few days' training, in some cases after merely being spectators at lessons, were advertising themselves as teachers of the method. In 1910 Jaques-Dalcroze was invited by the brothers Wolf and Harald Dohrn to come to Dresden, where, in the garden suburb of Hellerau, they have built him a College for Rhythmic Training, a true Palace of Rhythm.
II. PRACTICE[1]
[1] In the preparation of this chapter free use has been made of the writings of M. Jaques-Dalcroze and of Dr. Wolf Dohrn, Director of the College of Music and Rhythm, Hellerau, Dresden.
The method naturally falls into three divisions--
(a) Rhythmic gymnastics proper. (b) Ear training. (c) Improvisation (practical harmony).
(a) Is essentially the Jaques-Dalcroze method--that which is fundamentally new. As it is this part of the method which is likely to prove of great value in all systems of education, not merely as a preparation for the study of music, but as a means to the utmost development of faculty in the individual, it will be dealt with in detail.
(b) Is of the greatest importance as an adjunct to rhythmic gymnastics, since it is through the ear that rhythm-impressions are most often and most easily obtained. Jaques-Dalcroze naturally uses his own methods of ear-training, which are extremely successful, but he does not lay stress on them; he does, however, emphasize the need of such training, whatever the method, as shall give the pupil an accurate sense of pitch, both absolute and relative, and a feeling for tonality. The more these are possessed the greater the use which can be made of rhythmic gymnastics.
[Illustration: Beating 4/4.]
[Illustration: Movements for the Semibreve.]
(c) This is not required in the pupil, however valuable it may be as an additional means of self-expression; it is, however, absolutely necessary for the successful teacher of rhythmic gymnastics, who must be able to express, on some instrument--most conveniently the piano--whatever rhythms, simple or compound, he may wish to use in the training of his pupils. This subject, therefore, naturally forms an important part of the normal course at the Hellerau College, since this course is planned to meet the needs of students preparing for the teaching diploma in Eurhythmics. Here, too, Jaques-Dalcroze has his own system, with which he obtains results often remarkable, but, as in the case of the ear-training, this is a detail not peculiar to the method as a whole.
To repeat: the essentials are that the teacher have the power of free expression on some musical instrument, the pupil that of hearing correctly.
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The system of exercises known as rhythmic gymnastics is based upon two ideas, (i) time is shown by movements of the arms, (ii) time-values, i.e., note-duration, by movements of the feet and body. In the early stages of the training this principle is clearly observed; later it may be varied in many ingenious ways, for instance in what is known as plastic counterpoint, where the actual notes played are represented by movements of the arms, while the counterpoint in crotchets,