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diff --git a/21653-h/21653-h.htm b/21653-h/21653-h.htm new file mode 100644 index 0000000..6e27771 --- /dev/null +++ b/21653-h/21653-h.htm @@ -0,0 +1,2284 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> +<head> +<meta http-equiv="content-type" content="text/html;charset=iso-8859-1" /> +<meta http-equiv="Content-Style-Type" content="text/css" /> +<title> +The Project Gutenberg eBook of The Eurhythmics of Jaques-Dalcroze +</title> +<style type="text/css" media="screen"> + +* { margin:0%; padding:0%; } + +body { margin: 5% 15%; } + +h1,h2,h3 { text-align: center; margin:3% 0%;} + +a { text-decoration:none;color:black; } +a:hover { text-decoration:underline;color:blue; } +a:focus { text-decoration:underline;color:blue; } +a:active { text-decoration:underline; color: red; } + +body > p { margin:1.5% 0% 0%; text-align:justify; } +p.ralign { text-align:right; } +p.center { text-align:center; } + +img.center { display:block; margin:3% auto 0%; border:5px double silver; } + +blockquote {margin:0% 5%;} + +hr {margin:5% auto; width:65%} + +ul { list-style-type:none; } + +ul.center +{ +width:70%; +margin:0% auto; +font-size:110%; +} + +ul.center li { margin:2%; } + +li span.ralign +{ +position:absolute; +right:20%; +} + +.small { font-size:small; } +.smaller { font-size:smaller; } + +.titlepage +{ +width:50%; +margin:0% auto; +padding:0% 0% 3%; +text-align:center; +} +.titlepage h1 { margin:10% 0% 3%; } + +.byline +{ +margin:10% 0% 35%; +} + +span.pagenum +{ +position: absolute;left: 1%; +font-size: 75%; +font-weight:normal; +font-style:normal; +font-variant:normal; +} + +.subtitle { margin:0% 0% 3%; text-align:center; } + +.smcap {font-variant: small-caps;} + +.caption { font-size:150%; margin:1% 0%; text-align:center; } + +.sidenote +{ +width:15%; +float: right; +margin-right: -6em; +margin-top: 0%; +margin-left: 6px; +border: 1px dotted black; +padding:0%; +background-color: rgb(90%,90%,90%); +font-size: smaller; +color: #333; +text-indent: 0%; +text-align:center; +line-height: 1.1em; +} + +.footnote { font-size:90%; margin:3% 0%;} + +.footnote .label +{ +float:left; +text-align:left; +width:2em; +} + +.footnote a {text-decoration:none;} + +.fnanchor +{ +font-size: 80%; +text-decoration: none; +vertical-align: 0.25em; +} + +.intro { margin:5% 5% 0%; } +.none {display:none;} /* Hide blank page numbers */ +.epigram { margin: 0% 0% 2% 4%; } + +</style> +</head> + +<body> + + +<pre> + +The Project Gutenberg EBook of The Eurhythmics of Jaques-Dalcroze, by +Emile Jaques-Dalcroze + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Eurhythmics of Jaques-Dalcroze + +Author: Emile Jaques-Dalcroze + +Contributor: M. E. Sadler + +Release Date: June 1, 2007 [EBook #21653] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE EURHYTHMICS OF JAQUES-DALCROZE *** + + + + +Produced by David Newman, V. L. Simpson and the Online +Distributed Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + + +<div><img id="frontis" class="center" src="images/frontis.jpg" +alt="Illustration" /></div> + +<p class="caption">Emile Jaques-Dalcroze.</p> + +<div class="titlepage"> + +<h1>THE EURHYTHMICS <span style="font-size:smaller">OF +JAQUES-DALCROZE</span></h1> + +<div class="byline"> +Introduction by<br /> +Professor <span class="smcap">M. E. Sadler</span>, LL.D. (Columbia)<br /> +<span style="font-size:smaller">Vice-Chancellor of the University of Leeds</span><br /> +</div> + +<div class="publisher small"> +<span class="smaller">BOSTON</span><br /> +SMALL MAYNARD AND COMPANY<br /> +<span class="smaller">1915</span><br /> +<span class="smaller">Printed in Great Britain</span> +</div> +</div><!-- end .titlepage --> + +<hr /> + +<div class="intro"> +<blockquote class="epigram"><p><span class="pagenum">[Pg. 5]</span><a name="note"></a> +Πας +γαρ +ὁ +βιος +του +ανθρωπου +ευρυθμιας +τε +και +ευαρμοστιας +δειται +</p> +</blockquote> + +<p>"Rhythmische Gymnastik" is the name by which the Dalcroze method is +known in Germany, but whether or not the German words are adequate, +their literal translation into English certainly gives too narrow an +idea of the scope of the system to any one unacquainted with it. +Rhythmical "gymnastics," in the natural meaning of the word, is a part +of the Dalcroze training, and a not unimportant part, but it is only one +application of a much wider principle; and accordingly, where the term +occurs in the following pages, it must be understood simply as denoting +a particular mode of physical drill. But for the principle itself and +the total method embodying it, another name is needed, and the term +"Eurhythmics" has been here coined for the purpose. The originality of +the Dalcroze method, the fact that it is a discovery, gives it a right +to a name of its own: it is because it is in a sense also the +rediscovery of an old secret that a name has been chosen of such plain +reference and derivation. Plato, in the words quoted above, has said +that the whole of a man's life stands in need of a right rhythm: and it +is natural to see some kinship between this Platonic attitude and the +claim of Dalcroze that his discovery is not a mere refinement of +dancing, nor an improved method of music-teaching, but a principle that +must have effect upon every part of life.</p> + +<p class="ralign"><span class="smcap">John W. Harvey.</span></p> +</div> + +<p class="none"> <span class="pagenum">[Pg. 6]</span></p> + +<p> <span class="pagenum">[Pg. 7]</span></p> + +<h2>CONTENTS</h2> +<ul class="toc center"> +<li><a href="#note"><span class="smcap">Note</span>: John W. Harvey <span class="ralign">5</span></a></li> +<li><a href="#THE_EDUCATIONAL_SIGNIFICANCE_OF_HELLERAU">The Educational Significance of <span class="smcap">Hellerau</span>: Prof. M. E. Sadler <span class="ralign">11</span></a></li> +<li><a href="#RHYTHM_AS_A_FACTOR_IN_EDUCATION">Rhythm as a Factor in Education: Emile Jaques-Dalcroze <span class="ralign">15</span></a></li> +<li><a href="#FROM_THE_LECTURES_OF_EMILE_JAQUES-DALCROZE">From Lectures and Addresses: Translated by P. & E. Ingham <span class="ralign">26</span></a></li> +<li><a href="#THE_JAQUES-DALCROZE_METHOD">The Method: Growth and Practice: Percy B. Ingham <span class="ralign">31</span></a></li> +<li><a href="#LESSONS_AT_HELLERAU">Lessons at Hellerau: Ethel Ingham <span class="ralign">48</span></a></li> +<li><a href="#LIFE_AT_HELLERAU">Life at Hellerau: Ethel Ingham <span class="ralign">55</span></a></li> +<li><a href="#THE_VALUE_OF_EURHYTHMICS_TO_ART">The Value of Eurhythmics to Art: M. T. H. Sadler. <span class="ralign">60</span></a></li> +</ul> + +<p class="none"> <span class="pagenum">[Pg. 8]</span></p> +<p> <span class="pagenum">[Pg. 9]</span></p> + +<h2>LIST OF ILLUSTRATIONS</h2> + +<ul class="center"> + +<li><a href="#frontis">Emile +Jaques-Dalcroze <span class="ralign"><i>Frontispiece</i></span></a></li> + +<li><a href="#img02">The College: from the East <i>Facing +page</i> <span class="ralign">15</span></a></li> + +<li><a href="#img03">The College: Front <span class="ralign">26</span></a></li> + +<li><a href="#img04">The College: General View from the South-East <span class="ralign">31</span></a></li> + +<li> +<a href="#img05">Beating 4/4</a><br /> +<a href="#img06">Movements for the Semibreve +<span class="ralign"><i>Between pages</i> 36 <i>and</i> 37</span></a></li> + +<li> +<a href="#img07">Beating 5/4 in Canon without Expression</a><br /> +<a href="#img08">Beating 5/4 in Canon with Expression +<span class="ralign"><i>Between pages</i> 44 <i>and</i> 45</span></a></li> + +<li> +<a href="#img09">The Air Bath</a><br /> +<a href="#img10">The College: Entrance Hall +<span class="ralign"><i>Between pages</i> 48 <i>and</i> 49</span></a></li> + +<li> +<a href="#img11">The College: Classrooms</a><br /> +<a href="#img12">The College: Interiors +<span class="ralign"><i>Between pages</i> 52 <i>and</i> 53</span></a></li> + +<li><a href="#img13">The Hostel: Interiors <span class="ralign"><i>Facing page</i> 55</span></a></li> + +<li><a href="#img14">The Hostel: General View <span class="ralign"><i>page</i> 57</span></a></li> + +<li><a href="#img15">Dresden from Hellerau <span class="ralign"><i>Facing page</i> 59</span></a></li> + +<li><a href="#img16">A Plastic Exercise <span class="ralign">60</span></a></li> + +<li><a href="#img17">A Plastic Exercise <span class="ralign">64</span></a></li> +</ul> + +<p class="none"> <span class="pagenum">[Pg. 10]</span></p> + +<hr /> + +<h2><a name="THE_EDUCATIONAL_SIGNIFICANCE_OF_HELLERAU" +id="THE_EDUCATIONAL_SIGNIFICANCE_OF_HELLERAU"></a>THE EDUCATIONAL +SIGNIFICANCE OF HELLERAU</h2> + +<p><span class="pagenum">[Pg. 11]</span>At Hellerau two things make an +ineffaceable impression upon the mind—the exquisite beauty of +movement, of gesture and of grouping seen in the exercises; and the +nearness of a great force, fundamental to the arts and expressing itself +in the rhythm to which they attain. Jaques-Dalcroze has re-opened a door +which has long been closed. He has rediscovered one of the secrets of +Greek education.</p> + +<p>A hundred years ago Wilhelm von Humboldt endeavoured to make Greek +ideals the paramount influence in the higher schools of Germany. He and +a group of friends had long felt indignant at the utilitarianism and +shallowness of the work of the schools. In Greek literature, Greek +philosophy and Greek art would be found a means of kindling new life in +education and of giving it the power of building up strong and +independent personalities. When there came to Humboldt the unexpected +opportunity of reforming the secondary schools of Prussia, he so +remodelled the course of study as to secure for Greek thought and +letters a place which, if not central and determinative, would at least +bring the élite of the younger generation in some measure under +their influence. But his administrative orders failed to impart to the +schools the spirit of ancient Greece. To Humboldt and his friends Greek +studies had been an <span class="pagenum">[Pg. 12]</span>inspiration +because, apart from their intellectual significance and literary form, +those studies had been the channel of an artistic impulse and had been +entered into as art. But this artistic power was not felt by the greater +number of those who undertook, in obedience to the new regulations, the +duty of teaching Greek in the schools. What was left in Greek studies +after this failure of artistic insight was often no more than another +form of purely intellectual discipline. A new subject had been added to +the curriculum, but new life had not been brought into the schools. The +very name, Gymnasium, which denoted their Hellenic purpose, seemed +ironical. They were not Greek in spirit and they ignored the training of +the body. Thus what Wilhelm von Humboldt had chiefly aimed at +accomplishing, he failed to do. It was not the power of Greek art that +he brought into the schools but, in most cases, merely the philological +study of a second dead language. The cause of his failure was that he +had not discovered the educational method which could effectually secure +his purpose. He had assumed that, in order to introduce the Greek spirit +into education, it was sufficient to insist upon the linguistic and +literary study of Greek.</p> + +<p>In time, attempts were made to remedy what was defective in +Humboldt's plan by insisting upon physical exercises as an obligatory +part of education in the higher schools. But the physical exercises thus +introduced, though salutary in themselves, were divorced from the +artistic influences of the Greek gymnastic. Humboldt's chief aim had +been forgotten. His system of organization had rooted itself, but his +educational ideal, to which <span class="pagenum">[Pg. 13]</span>he +attached far greater importance than to administrative regulation, was +ignored.</p> + +<p>In later years, though such Neo-Hellenism as Humboldt's had long gone +out of fashion, the weakness of the higher schools on the side of +artistic training was recognized. But a corrective for this was sought +in instruction about art, not (except so far as a little teaching of +drawing went) in the practice of an art. An attempt was made to +cultivate aesthetic appreciation by lessons which imparted knowledge but +did not attempt to train the power of artistic production—an aim which +was regarded as unrealizable, except in vocal music, and of course +through literary composition, in a secondary school. Thus Humboldt's +original purpose has been almost wholly unachieved. The schools, +admirably organized on the intellectual side and, within certain limits, +increasingly efficient in their physical training, are, as a rule, +lacking in the influence of art, as indeed in most cases are the +corresponding schools in other countries. The spring of artistic +training has not been touched. The divorce between intellectual +discipline and artistic influence (except indeed so far as the latter is +operative through the study of literature, through a little drawing, and +through vocal music) is complete. This defect is felt even more keenly +in Germany than in England, because in the German schools the +intellectual pressure is more severe, and the schools do less for the +cultivation of those interests which lie outside the limits of regular +class-room work.</p> + +<p>Wilhelm von Humboldt gave little direct attention to the work of the +elementary schools. His chief concern <span class="pagenum">[Pg. +14]</span>was with higher education. But in the elementary schools also, +except in so far as they gave much care to vocal music, the course of +training failed to make use of the educative power of art. A conviction +that there is an error has led in Germany, as in England and America, to +an increased attention to drawing and to attempts to interest children +in good pictures. But there is still (except in the case of vocal music +and a little drawing) an unbridged gap between the intellectual and the +artistic work of the schools.</p> + +<p>Jaques-Dalcroze's experience suggests the possibility of a much closer +combination of these two elements, both in elementary and in secondary +education. His teaching requires from the pupils a sustained and careful +attention, is in short a severe (though not exhausting) intellectual +exercise; while at the same time it trains the sense of form and rhythm, +the capacity to analyse musical structure, and the power of expressing +rhythm through harmonious movement. It is thus a synthesis of +educational influence, artistic and intellectual. Its educational value +for young children, its applicability to their needs, the pleasure which +they take in the exercises, have been conclusively proved. And in the +possibility of this widely extended use of the method lies perhaps the +chief, though far indeed from the only, educational significance of what +is now being done at Hellerau.</p> + +<p class="ralign"><span class="smcap">M. E. Sadler.</span></p> + +<div><img id="img02" class="center" src="images/img02.jpg" +alt="Illustration" /></div> + +<p class="caption">The College.</p> + +<hr /> + +<p><span class="pagenum">[Pg. 15]</span></p> + +<h2><a name="RHYTHM_AS_A_FACTOR_IN_EDUCATION" +id="RHYTHM_AS_A_FACTOR_IN_EDUCATION"></a>RHYTHM AS A FACTOR IN +EDUCATION</h2> + +<h3>FROM THE FRENCH OF E. JAQUES-DALCROZE<a name="FNanchor_1_1" +id="FNanchor_1_1"></a><a href="#Footnote_1_1" +class="fnanchor">[1]</a></h3> + +<blockquote><p class="footnote"><a name="Footnote_1_1" +id="Footnote_1_1"></a><a +href="#FNanchor_1_1"><span class="label">[1]</span></a> First published +in <i>Le Rhythme</i> (Bâle) of December, +1909.</p></blockquote> + +<p>It is barely a hundred years since music ceased to be an aristocratic +art cultivated by a few privileged individuals and became instead a +subject of instruction for almost everybody without regard to talent or +exceptional ability. Schools of Music, formerly frequented only by born +musicians, gifted from birth with unusual powers of perception for sound +and rhythm, to-day receive all who are fond of music, however little +Nature may have endowed them with the necessary capacity for musical +expression and realization. The number of solo players, both pianists +and violinists, is constantly increasing, instrumental technique is +being developed to an extraordinary degree, but everywhere, too, the +question is being asked whether the quality of instrumental players is +equal to their quantity, and whether the acquirement of extraordinary +technique is likely to help musical progress when this technique is not +joined to musical powers, if not of the first rank, at least normal.</p> + +<p>Of ten certificated pianists of to-day, at the most one, if indeed one, +is capable of recognizing one key from another, of improvising four bars +with character or so as to give pleasure to the listener, of giving +<span class="pagenum">[Pg. 16]</span>expression to a composition without +the help of the more or less numerous annotations with which present day +composers have to burden their work, of experiencing any feeling +whatever when they listen to, or perform, the composition of another. +The solo players of older days were without exception complete +musicians, able to improvise and compose, artists driven irresistibly +towards art by a noble thirst for aesthetic expression, whereas most +young people who devote themselves nowadays to solo playing have the +gifts neither of hearing nor of expression, are content to imitate the +composer's expression without the power of feeling it, and have no other +sensibility than that of the fingers, no other motor faculty than an +automatism painfully acquired. Solo playing of the present day has +specialized in a finger technique which takes no account of the faculty +of mental expression. It is no longer a means, it has become an end.</p> + +<p>As a rule, writing is only taught to children who have reached a +thinking age, and we do not think of initiating them into the art of +elocution until they have got something to say, until their powers of +comprehension, analysis and feeling begin to show themselves. All modern +educationalists are agreed that the first step in a child's education +should be to teach him to know himself, to accustom him to life and to +awaken in him sensations, feelings and emotions, before giving him the +power of describing them. Likewise, in modern methods of teaching to +draw, the pupil is taught to see objects before painting them. In music, +unfortunately, the same rule does not hold. Young people are taught to +<span class="pagenum">[Pg. 17]</span>play the compositions of Bach, +Mozart, Beethoven, Chopin and Liszt, before their minds and ears can +grasp these works, before they have developed the faculty of being moved +by them.</p> + +<p>There are two physical agents by means of which we appreciate music. +These two agents are the ear as regards sound, and the whole nervous +system as regards rhythm. Experience has shown me that the training of +these two agents cannot easily be carried out simultaneously. A child +finds it difficult to appreciate at the same time a succession of notes +forming a melody and the rhythm which animates them.</p> + +<p>Before teaching the relation which exists between sound and movement, it +is wise to undertake the independent study of each of these two +elements. Tone is evidently secondary, since it has not its origin and +model in ourselves, whereas movement is instinctive in man and therefore +primary. Therefore I begin the study of music by careful and +experimental teaching of movement. This is based in earliest childhood +on the automatic exercise of marching, for marching is the natural model +of time measure.</p> + +<p>By means of various accentuations with the foot, I teach the different +time measures. Pauses (of varying lengths) in the marching teach the +children to distinguish durations of sound; movements to time with the +arms and the head preserve order in the succession of the time measures +and analyse the bars and pauses.</p> + +<p>All this, no doubt, seems very simple, and so I thought when +beginning my experiments. Unfortunately, the latter have shown me that +it is not so simple as it seems, <span class="pagenum">[Pg. +18]</span>but on the contrary very complicated. And this because most +children have no instinct for time, for time values, for accentuation, +for physical balance; because the motor faculties are not the same in +all individuals, and because a number of obstacles impede the exact and +rapid physical realization of mental conceptions. One child is always +behind the beat when marching, another always ahead; another takes +unequal steps, another on the contrary lacks balance. All these faults, +if not corrected in the first years, will reappear later in the musical +technique of the individual.</p> + +<p>Unsteady time when singing or playing, confusion in playing, inability +to follow when accompanying, accentuating too roughly or with lack of +precision, all these faults have their origin in the child's muscular +and nervous control, in lack of co-ordination between the mind which +conceives, the brain which orders, the nerve which transmits and the +muscle which executes. And still more, the power of phrasing and shading +music with feeling depends equally upon the training of the +nerve-centres, upon the co-ordination of the muscular system, upon rapid +communication between brain and limbs—in a word, upon the health of the +whole organism; and it is by trying to discover the individual cause of +each musical defect, and to find a means of correcting it, that I have +gradually built up my method of eurhythmics.</p> + +<p>This method is entirely based upon experiments many times repeated, +and not one of the exercises has been adopted until it has been applied +under different forms and under different conditions and its usefulness +definitely proved. Many people have a +completely <span class="pagenum">[Pg. 19]</span>false idea of my system, +and consider it is a simple variant on the methods of physical training +at present in fashion, whose inventors have undoubtedly rendered great +service to humanity.</p> + +<p>I cannot help smiling when I read in certain papers, over names which +carry weight, articles in which my method is compared to other gymnastic +systems. The fact is, my book is simply a register of the different +exercises which I have invented, and says nothing of my ideas in +general, for it is written for those who have learnt to interpret my +meaning under my personal tuition at Geneva and Hellerau.</p> + +<p>Quite naturally, half the critics who have done me the honour of +discussing the book, have only glanced through it and looked at the +photographs. Not one of them has undergone the special training upon +which I lay stress and without which I deny absolutely that any one has +the right to pass a definite judgment on my meaning; for one does not +learn to ride by reading a book on horsemanship, and eurhythmics are +above all a matter of personal experience.</p> + +<p>The object of the method is, in the first instance, to create by the +help of rhythm a rapid and regular current of communication between +brain and body; and what differentiates my physical exercises from those +of present-day methods of muscular development is that each of them is +conceived in the form which can most quickly establish in the brain the +image of the movement studied.</p> + +<p>It is a question of eliminating in every muscular movement, by the +help of will, the untimely intervention <span class="pagenum">[Pg. +20]</span>of muscles useless for the movement in question, and thus +developing attention, consciousness and will-power. Next must be created +an automatic technique for all those muscular movements which do not +need the help of the consciousness, so that the latter may be reserved +for those forms of expression which are purely intelligent. Thanks to +the co-ordination of the nerve-centres, to the formation and development +of the greatest possible number of motor habits, my method assures the +freest possible play to subconscious expression. The creation in the +organism of a rapid and easy means of communication between thought and +its means of expression by movements allows the personality free play, +giving it character, strength and life to an extraordinary degree.</p> + +<p>Neurasthenia is often nothing else than intellectual confusion produced +by the inability of the nervous system to obtain from the muscular +system regular obedience to the order from the brain. Training the nerve +centres, establishing order in the organism, is the only remedy for +intellectual perversion produced by lack of will power and by the +incomplete subjection of body to mind. Unable to obtain physical +realization of its ideas, the brain amuses itself in forming images +without hope of realizing them, drops the real for the unreal, and +substitutes vain and vague speculation for the free and healthy union of +mind and body.</p> + +<p>The first result of a thorough rhythmic training is that the pupil +sees clearly in himself what he really is, and obtains from his powers +all the advantage possible. This result seems to me one which should +attract the attention of all educationalists and assure to +education <span class="pagenum">[Pg. 21]</span>by and for rhythm an +important place in general culture.</p> + +<p>But, as an artist, I wish to add, that the second result of this +education ought to be to put the completely developed faculties of the +individual at the service of art and to give the latter the most subtle +and complete of interpreters—the human body. For the body can become a +marvellous instrument of beauty and harmony when it vibrates in tune +with artistic imagination and collaborates with creative thought. It is +not enough that, thanks to special exercises, students of music should +have corrected their faults and be no longer in danger of spoiling their +musical interpretations by their lack of physical skill and harmonious +movements; it is necessary in addition that the music which lives within +them—artists will understand me—should obtain free and complete +development, and that the rhythms which inspire their personality should +enter into intimate communion with those which animate the works to be +interpreted.</p> + +<p>The education of the nervous system must be of such a nature that the +suggested rhythms of a work of art induce in the individual analogous +vibrations, produce a powerful reaction in him and change naturally into +rhythms of expression. In simpler language, the body must become capable +of responding to artistic rhythms and of realizing them quite naturally +without fear of exaggeration.</p> + +<p>This faculty of emotion, indispensable to the artist, was formerly +natural to almost all beginners in music, for hardly any but +pre-destined artists devoted them<span class="pagenum">[Pg. +22]</span>selves to the art; but, if this is no longer the case, it is +possible at least to awaken dulled faculties, to develop and co-ordinate +them, and it is the duty of every musical educationalist to deter from +instrumental technique every individual who is still without musical +feeling.</p> + +<p>The experimental study of rhythm should form a part of every +well-organized musical education, and this study will be useful not only +to musicians, but to music itself. It is quite certain that, if since +Beethoven's time harmony has developed, if each generation has created +fresh groupings of sounds, it is not the same regarding rhythmic forms, +which remain much as they were.</p> + +<p>I shall be told that the means of expression are of no importance so +long as the artist is able to show his meaning, that a sincere emotion +can be clearly expressed even with old-fashioned rhythms, and that to +try and create new rhythms is mere technical work, and to enforce such +upon the composers of to-morrow is simply depriving them of their +character. This is all true, and I myself have a horror of seeking new +means of expression within the limits of hard and fast rules, for +expression ought to be a spontaneous manifestation. But I assert that +experiments in rhythm, and the complete study of movements simple and +combined, ought to create a fresh mentality, that artists thus trained +will find inevitably and spontaneously new rhythmic forms to express +their feelings, and that in consequence their characters will be able to +develop more completely and with greater strength. It is a fact that +very young children taught by my method invent quite +naturally <span class="pagenum">[Pg. 23]</span>physical rhythms such as +would have occurred to very few professional musicians, and that my most +advanced pupils find monotonous many contemporary works the rhythmic +poverty of which shocks neither public nor critics.</p> + +<p>I will terminate this short sketch of my system by pointing out the +intimate relations which exist between movements in time and movements +in space, between rhythms in sound and rhythm in the body, between Music +and Plastic Expression.</p> + +<p>Gestures and attitudes of the body complete, animate and enliven any +rhythmic music written simply and naturally without special regard to +tone, and, just as in painting there exist side by side a school of the +nude and a school of landscape, so in music there may be developed, side +by side, plastic music and music pure and simple. In the school of +landscape painting emotion is created entirely by combinations of moving +light and by the rhythms thus caused. In the school of the nude, which +pictures the many shades of expression of the human body, the artist +tries to show the human soul as expressed by physical forms, enlivened +by the emotions of the moment, and at the same time the characteristics +suitable to the individual and his race, such as they appear through +momentary physical modifications.</p> + +<p>In the same way, plastic music will picture human feelings expressed by +gesture and will model its sound forms on those of rhythms derived +directly from expressive movements of the human body.</p> + +<p>To compose the music which the Greeks appear to have realized, and +for which Goethe and Schiller hoped, <span class="pagenum">[Pg. +24]</span>musicians must have acquired experience of physical movements; +this, however, is certainly not the case to-day, for music has become +beyond all others an intellectual art. While awaiting this +transformation, present generations can apply education by and for +rhythm to the interpretation of plastic stage music such as Richard +Wagner has imagined. At the present day this music is not interpreted at +all, for dramatic singers, stage managers and conductors do not +understand the relation existing between gesture and music, and the +absolute ignorance regarding plastic expression which characterizes the +lyric actors of our day is a real profanation of scenic musical art. Not +only are singers allowed to walk and gesticulate on the stage without +paying any attention to the time, but also no shade of expression, +dynamic or motor, of the orchestra—crescendo, decrescendo, +accelerando, rallentando—finds in their gestures adequate +realization. By this I mean the kind of wholly instinctive +transformation of sound movements into bodily movements such as my +method teaches.</p> + +<p>Authors, poets, musicians and painters cannot demand from the +interpreters of their works knowledge of the relations between movements +in time and in space, for this knowledge can only be developed by +special studies. No doubt a few poets and painters have an inborn +knowledge of the rhythms of space; for instance, Hugo von Hofmannsthal, +the stage mounter of "Electra" at the Vienna Opera, who constructed a +huge staircase, on which, however, the actors, having little +acquaintance with the most elementary notions of balance, moved with +deplorable heavi<span class="pagenum">[Pg. 25]</span>ness; or again, the +aesthetician Adolphe Appia, whose remarkable work <i>Music and Stage +Mounting</i> ought to be the guide of all stage managers. But the +majority of composers write their plastic music without knowing whether +it is capable of being practically realized, without personal experience +of the laws of weight, force and bodily movement.</p> + +<p>My hope is, that sincere artists desirous of perfection and seeking +progress will study seriously the grave question which I raise. For my +own part, relying on many experiments, and full of confidence in ideas +carefully thought out, I have devoted my life to the teaching of rhythm, +being fully satisfied that, thanks to it, man will regain his natural +powers of expression, and at the same time his full motor faculties, and +that art has everything to hope from new generations brought up in the +cult of harmony, of physical and mental health, of order, beauty and +truth.</p> + +<hr /> + +<h2><a name="FROM_THE_LECTURES_OF_EMILE_JAQUES-DALCROZE" +id="FROM_THE_LECTURES_OF_EMILE_JAQUES-DALCROZE"></a>FROM THE LECTURES OF +EMILE JAQUES-DALCROZE</h2> + +<p class="subtitle"><span class="pagenum">[Pg. 26]</span>(<span class="smcap">Lecture at Leipzig, December 10, 1911</span>)</p> + +<p>The objection is often raised that under my system the technique of an +instrument is acquired too late. But this objection has no foundation in +fact. A child who begins rhythmic gymnastics as I would have it in its +fifth or sixth year and a year later ear-training, can certainly have +piano lessons when eight years old, and I can state from experience that +the finger technique of the child will then develop much more quickly, +for the musical faculties in general will have been far better +developed, more thoroughly trained and become more part of the child's +life owing to the preliminary training.</p> + +<hr style='width: 45%;' /> + +<p>Lessons in rhythmic gymnastics help children in their other lessons, +for they develop the powers of observation, of analyzing, of +understanding and of memory, thus making them more orderly and +precise.</p> + +<hr style='width: 45%;' /> + +<p>The effect of rhythmic training on the time-table and life of a +school is like that of a hot water heating system which spreads an equal +warmth through all parts of a building. Teachers of other subjects will +find that such training provides them with pupils more +re<span class="pagenum">[Pg. 27]</span>sponsive, more elastic and of +more character than they otherwise would be. Therefore, the study of +rhythm, as well as education by means of rhythm, ought to be most +closely connected with school life.</p> + +<div><img id="img03" class="center" src="images/img03.jpg" +alt="Illustration" /></div> +<p class="caption">The College.</p> + +<hr style='width: 45%;' /> + +<p class="subtitle">(<span class="smcap">Address to the Dresden +Teachers' Association, May 28, 1912</span>)</p> + +<p>From many years' experience of music teaching I have gradually produced +a method which gives a child musical experiences instead of musical +knowledge.</p> + +<p>I expect much from education in rhythm in elementary schools, provided +it be given regularly, completely and sufficiently. The exercises should +be begun at the age of six, with half an hour's lesson three times a +week, but these lessons can quite well be taken from playtime. By the +age of twelve two lessons a week are sufficient. This training will not +only develop the feeling for beauty and form by accustoming the eye to +distinguish beautiful movements and lines from those that are ugly, but +also render the children susceptible to musical impressions.</p> + +<p>There are always children who are not able to sing in time, or even +to beat time, to walk in time, or to graduate the strength and rapidity +of their movements. Such children are unrhythmic, and it will generally +be noticed that these children are stiff and awkward, often also +over-excitable. This lack of rhythm is almost like a disease. It is +caused by the lack of balance between the mental and physical powers, +which <span class="pagenum">[Pg. 28]</span>results from insufficient +co-ordination between the mental picture of a movement and its +performance by the body, and these nervous troubles are just as much the +cause as the result of such lack of harmony. In some cases the brain +gives clear and definite impulses, but the limbs, in themselves healthy, +can do nothing because the nervous system is in confusion. In other +cases the limbs have lost the power to carry out orders sent by the +brain, and the undischarged nerve-impulses disturb the whole nervous +system. In other cases again, muscles and nerves are healthy, but +insufficient training in rhythm impedes the formation of lasting +rhythmic images in the brain. To repeat, the causes of this lack of +rhythm all lie in the important but insufficiently recognized +psycho-physiological sphere of the co-ordination of brain, nerve-paths +and muscles.</p> + +<p>The objection is sometimes made that rhythmic gymnastics cause +nerve-strain in children. This is not the case. Several brain +specialists have told me that they have effected satisfactory cures with +rhythmic gymnastic exercises.</p> + +<p>Rhythm is infinite, therefore the possibilities for physical +representations of rhythm are infinite.</p> + +<hr style='width: 45%;' /> + +<p class="subtitle">(<span class="smcap">Address to +Students</span>, <i>der Rhythmus</i>, Vol. I, p. 41, <i>et seq.</i>)</p> + +<p>I consider it unpardonable that in teaching the piano the whole +attention should be given to the imitative <span class="pagenum">[Pg. +29]</span>faculties, and that the pupil should have no opportunity +whatever of expressing his own musical impressions with the technical +means which are taught him.</p> + +<p>Whether the teacher himself be a genius is of little importance, +provided he is able to help others to develop their own talents.</p> + +<p>One can create nothing of lasting value without self-knowledge. The only +living art is that which grows out of one's own experiences. It is just +the same with teaching; it is quite impossible to develop others until +one has proved one's own powers in every direction, until one has learnt +to conquer oneself, to make oneself better, to suppress bad tendencies, +to strengthen good ones, and, in the place of the primitive being, to +make one more complete who, having consciously formed himself, knows his +powers. Only in proportion as one develops oneself is one able to help +others to develop.</p> + +<p>I consider that one does not require to be a genius in order to teach +others, but that one certainly does require strong conviction, +enthusiasm, persistence and joy in life. All these qualities are equally +derived from the control and knowledge of self.</p> + +<p>We must, from youth upwards, learn that we are masters of our fate, +that heredity is powerless if we realize that we can conquer it, that +our future depends upon the victory which we gain over ourselves. +However weak the individual may be, his help is required to +pre<span class="pagenum">[Pg. 30]</span>pare a way for a better future. +Life and growth are one and the same, and it is our duty by the example +of our lives to develop those who come after us. Let us therefore assume +the responsibility which Nature puts upon us, and consider it our duty +to regenerate ourselves; thus shall we help the growth of a more +beautiful humanity.</p> + +<p>I like joy, for it is life. I preach joy, for it alone gives the power +of creating useful and lasting work. Amusement, an excitement which +stimulates the nerves instead of uplifting the spirit, is not necessary +in the life of the artist. Of course one must often let oneself go, and +I should be the last to defend a so-called moral discipline, or a +pedantic rule of monastic severity. For a healthy, active person the joy +of the daily struggle and of work performed with enthusiasm should be +sufficient to beautify life, drive away fatigue and illuminate present +and future. This condition of joy is brought about in us by the feeling +of freedom and responsibility, by the clear perception of the creative +power in us, by the balance of our natural powers, by the harmonious +rhythm between intention and deed. It depends upon our creative +faculties, both natural and acquired, and becomes greater as these grow. +The power of understanding ourselves certainly gives us a sense of +freedom, for it opens a rapid correspondence, not only between +imagination and power of performance, between apperception and feelings, +but also between the various kinds of feelings which dwell in us.</p> + +<div><img id="img04" class="center" src="images/img04.jpg" +alt="Illustration" /></div> +<p class="caption">The College.</p> + +<hr /> + +<h2><a name="THE_JAQUES-DALCROZE_METHOD" +id="THE_JAQUES-DALCROZE_METHOD"></a>THE JAQUES-DALCROZE METHOD</h2> + +<h3 class="subtitle">I. GROWTH<a name="FNanchor_1_2" +id="FNanchor_1_2"></a><a href="#Footnote_1_2" +class="fnanchor">[1]</a></h3> + +<blockquote><p class="footnote"><a name="Footnote_1_2" +id="Footnote_1_2"></a><a +href="#FNanchor_1_2"><span class="label">[1]</span></a> For much of the +material of this chapter the writer is indebted to Herr Karl Storck, of +Berlin, to whose book <i>E. Jaques-Dalcroze, seine Stellung und Aufgabe +in unserer Zeit</i>, Stuttgart, 1912, Greiner & Pfeiffer, the reader +is directed.</p></blockquote> + +<p><span class="pagenum">[Pg. 31]</span>Emile Jaques-Dalcroze was born +in Vienna on July 6, 1865, of mixed parentage, his father being a Swiss +from St. Croix in the Jura (hence the artist name Dalcroze), his mother +of German extraction. At the age of eight his parents brought him to +Geneva, where in due course he became a student at the Conservatoire of +Music. His musical education was continued in Paris under Léo +Delibes and in Vienna under Bruckner and Fuchs. For a short period his +studies were interrupted by an engagement as musical director of a small +theatre in Algiers—an opportunity which he used for study of the +peculiar rhythms of Arab popular music, which he found unusually +interesting and stimulating.</p> + +<p>Returning to Geneva, he earned, by a life of varied activities as +teacher, writer and composer, a standing which in 1892 brought him the +appointment of Professor of Harmony at the Geneva Conservatoire.</p> + +<p>The wider experience which the new sphere of work brought was to a +certain extent a disappointment, for +<span class="pagenum">[Pg. 32]</span>with it came clear evidence of what +had before only been suspected, namely, that the education of future +professional musicians was in many ways radically wrong, in that the +training of individual faculties was made the chief object, without +consideration of whether or no these faculties stood in any close +relation to the inner consciousness of the student. In other words, the +aim of the training was to form means of expression, without +consideration of what was to be expressed, to produce a highly trained +instrument, without thought of the art whose servant it was to be, to +take as primary object a thing of secondary importance, indeed only of +importance at all when consequent on something which the usual training +entirely neglected. The students were taught to play instruments, to +sing songs, but without any thought of such work becoming a means of +self expression and so it was found that pupils, technically far +advanced, after many years of study were unable to deal with the +simplest problems in rhythm and that their sense for pitch, relative or +absolute, was most defective; that, while able to read accurately or to +play pieces memorized, they, had not the slightest power of giving +musical expression to their simplest thoughts or feelings, in fact were +like people who possess the vocabulary of a language and are able to +read what others have written, yet are unable to put their own simple +thoughts and impressions into words. The analogy here is the simplest +use of everyday language; from this to the art of the essayist or poet +is far; so in music—one who has mastered notes, chords and rhythms +can give musical expression to simple thoughts +and <span class="pagenum">[Pg. 33]</span>feelings, while to become a +composer he must traverse a road that only natural talent can render +easy.</p> + +<p>Jaques-Dalcroze took the view that technique should be nothing but a +means to art, that the aim of musical education should be, not the +production of pianists, violinists, singers, but of musically developed +human beings, and that therefore the student should not begin by +specializing on any instrument, but by developing his musical faculties, +thus producing a basis for specialized study. This training could only +be obtained by awakening the sense, natural though often latent, for the +ultimate bases of music, namely, <i>tone</i> and <i>rhythm</i>. As the sense for +tone could only be developed through the ear, he now gave special +attention to vocal work, and noticed that when the students themselves +beat time to their singing, the work became much more real, that the +pupils had a feeling of being physically in unison with the music, +indeed the feeling of producing something complete and beautiful. +Following up this hint, "Gesture Songs" were written, which, it was +found, were performed with surprising ease.</p> + +<p>Up to this point movement had only been used as an accompaniment to +music, not as a means of expressing it; the next step was to give the +body a training so refined and so detailed as to make it sensitive to +every rhythmic impulse and able to lose itself in any music. This +co-ordination of movement and music is the essence of the +Jaques-Dalcroze method, and differentiates it from all other methods of +similar aim.</p> + +<p>So far only arm movements had been employed, and those merely the +conventional ones of the conductor. <span class="pagenum">[Pg. +34]</span>The next step was to devise a series of arm movements, +providing a means of clearly marking all tempi from two beats in the bar +to twelve beats in the bar, including such forms as 5/4 7/4 9/4 +11/4, and a system of movements of the body and lower limbs to +represent time values from any number of notes to the beat up to whole +notes of twelve beats to the note. From the first the work aroused keen +interest among the students and their parents, and the master was given +enthusiastic help by them in all his experiments; above all he was +loyally aided by his assistant, Fräulein Nina Gorter. The +Conservatoire authorities, however, were not sympathetic, and it became +necessary to form a volunteer-experimental class, which worked outside +official hours and buildings.</p> + +<p>The first public recognition of the method was at the Music Festival +in Solothurn in 1905, where a demonstration was given which made a +striking impression on those present. The value of the method for the +elementary education of musicians was immediately recognized and some +slight idea obtained of the part it might play in general elementary +education. It has been made clear that the method had its origin in the +attempt to give life and reality to musical education, to give a +foundational development on which specialized music study could be +based, and that it had grown naturally and gradually as the result 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, pro<span class="pagenum">[Pg. 35]</span>perly +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.<a name="FNanchor_1_3" +id="FNanchor_1_3"></a><a href="#Footnote_1_3" +class="fnanchor">[1]</a></p> + +<blockquote><p class="footnote"><a name="Footnote_1_3" +id="Footnote_1_3"></a><a +href="#FNanchor_1_3"><span class="label">[1]</span></a> Address to +students, Dresden, 1911 (<i>Der Rhythmus</i>, vol. i, p. +33).</p></blockquote> + +<blockquote><p>"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."</p></blockquote> + +<p>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 +<span class="pagenum">[Pg. 36]</span>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.</p> + + +<h3>II. PRACTICE<a name="FNanchor_1_4" +id="FNanchor_1_4"></a><a href="#Footnote_1_4" +class="fnanchor">[1]</a></h3> + +<blockquote><p class="footnote"><a name="Footnote_1_4" +id="Footnote_1_4"></a><a +href="#FNanchor_1_4"><span class="label">[1]</span></a> 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.</p></blockquote> + +<p>The method naturally falls into three divisions—</p> + +<ul class="center"> +<li>(<i>a</i>) Rhythmic gymnastics proper.</li> +<li>(<i>b</i>) Ear training.</li> +<li>(<i>c</i>) Improvisation (practical harmony).</li> +</ul> + +<p>(<i>a</i>) 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.</p> + +<p>(<i>b</i>) 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, how<span class="pagenum">[Pg. +37]</span>ever, 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.</p> + +<div><img id="img05" class="center" src="images/img05.jpg" alt="Illustration" /></div> +<p class="caption">Beating 4/4.</p> + +<div><img id="img06" class="center" src="images/img06.jpg" alt="Illustration" /></div> +<p class="caption"> Movements for the Semibreve.</p> + +<p>(<i>c</i>) This is not required in the <i>pupil</i>, however valuable it may be as +an additional means of self-expression; it is, however, absolutely +necessary for the successful <i>teacher</i> 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.</p> + +<p>To repeat: the essentials are that the teacher have the power of free +expression on some musical instrument, the pupil that of hearing +correctly.</p> + +<hr style='width: 45%;' /> + +<p>The system of exercises known as rhythmic gymnastics is based upon +two ideas, (i) <i>time</i> is shown by movements of the arms, +(ii) <i>time-values</i>, 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, <span class="pagenum">[Pg. 38]</span>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, quavers +or semiquavers, is given by the feet.</p> + +<p>The system of beating time with the arms provides for all tempi from +2/4 to 12/4 and includes 5/4 7/4 9/4.</p> + +<p>In the series of movements to represent note-values the crotchet is +taken as the unit; this is represented by a step; higher values, from +the minim to the whole note of twelve beats, are represented by a step +with one foot and a movement or movements with the other foot or with +the body, but without progression, e.g., a minim by one step and a knee +bend, a dotted minim by a step and two movements without progression, a +whole note of twelve beats by a step and eleven movements. Thus for each +note in the music there is one step, one progression in space, while at +the same time the note, if of greater length than a crotchet, is +analysed into crotchets.</p> + +<p>Notes of shorter duration than the crotchet, i.e., quavers, triplets, +etc., are expressed also by steps which become quicker in proportion to +their frequency.</p> + +<p>When the movements corresponding to the notes from the crotchet to the +whole note of twelve beats have, with all their details, become a habit, +the pupil need only make them mentally, contenting himself with one step +forward. This step will have the exact length of the whole note, which +will be mentally analysed into its various elements. Although these +elements are not individually performed by the body, their images and +<span class="pagenum">[Pg. 39]</span>the innervations suggested by those +images take the place of the movements.</p> + +<p>The process is similar to that of the child learning to read; at first +it reads aloud, then to itself, still, however, moving its lips, i.e., +still making all the innervations necessary for the pronunciation of +the words. Only after much practice does the process become sufficiently +automatic for these lip and tongue innervations to be dropped. Indeed, +many adults show traces of them when they read. To what degree our power +to read is based upon such innervations is shown by the fact that old +people, as their inhibitory powers become weaker, often revert to making +these lip movements. From this we may conclude that such innervations, +although they do not find their natural expression, still exist and have +effect, i.e., they are necessary. The Jaques-Dalcroze method aims at +nothing more or less than the training of rhythmic innervations.</p> + +<p>The whole training aims at developing the power of rapid physical +reaction to mental impressions. These latter are more commonly obtained +through the ear, chiefly from the music played; naturally, however, the +teacher needs at times to give commands during an exercise. For this +purpose he invariably uses the word <i>hopp</i>, a word chosen for its clear +incisiveness.</p> + +<p>Before each exercise it is clearly stated what the word is to +represent in that particular case, e.g., omit one beat, omit one bar, +beat time twice as fast with the arms, etc.; often the word will be used +in series in an exercise, each <i>hopp</i> meaning some additional +change. As the command generally falls on the second half +of <span class="pagenum">[Pg. 40]</span>the beat preceding the one in +which the change is to be made, very rapid mental and physical response +is necessary, especially if the music be at all quick. Exercises of this +class soon give the power of rapid muscular innervation and inhibition, +and are of extraordinary value in education, quite apart from their +purely rhythmic side.</p> + +<p>We will now consider the exercises in some detail, taking, as a matter +of convenience, the order and grouping generally adopted at +demonstrations of the method. In actual practice such strict grouping is +neither possible nor necessary; the actual form which the lessons take +will depend upon the genius of teacher and pupils, the possibilities of +variety being infinite.</p> + +<div class="sidenote">MOVEMENTS TO INDICATE VARIOUS TEMPI</div> + +<p>Simple music is played to which the pupils march. As they grasp the +beat they mark it by an accented step; when this becomes easy, the +corresponding arm movements are added, and the strong beat, at this +stage always the first, is marked by full contraction of the arm +muscles. Practice is given until at <i>hopp</i> the pupil can stop +suddenly, discontinue accenting with one or both arms or with one or +both feet, substitute an arm-movement for a foot movement, insert an +extra accent either with arm or foot, or do any similar thing previously +agreed on. By repeated practice of such exercises complete automatic +control of the limbs is obtained and the ground prepared for more +advanced work. It is at this stage that the simple movements to indicate +times and notes are learnt; they may be <span class="pagenum">[Pg. +41]</span>likened to the alphabet of the method, the elementary +exercises as a whole being its accidence, the more advanced stages, +including plastic expression, its syntax.</p> + +<div class="sidenote">TRAINING IN METRE</div> + +<p>This group of exercises is a natural extension of those preceding.</p> + +<p>The pupil learns a series of movements which together form a rhythm, +first practising them singly, then in groups, the signal for the change +being always the word <i>hopp</i>. By means of such exercises the component +movements required in the physical expression of a rhythm can be learnt, +first individually, then in series, until the complete rhythm can be +expressed and the use of <i>hopp</i> be dropped, each change of movement +becoming itself the signal for the next.</p> + +<p>Again, the pupil learns to realize<a name="FNanchor_1_5" +id="FNanchor_1_5"></a><a href="#Footnote_1_5" class="fnanchor">[1]</a> a +rhythm played on the piano or indicated by the movements of another +person. This is something quite apart from mere imitation; trained by +previous exercises, the pupil first forms clear mental images of the +movements corresponding to the rhythm in question and then gives +physical expression to those images. In other words, he does not +reproduce until he has understood; in fact, without understanding, +correct reproduction of a lengthy series of such movements is +impossible. In the same way, an individual cannot easily remember and +repeat a succession of words which he does not understand, but can +repeat without difficulty a long series of words of which he understands +the sense. Indeed, the importance of many of these exercises becomes +clearer when the way <span class="pagenum">[Pg. 42]</span>in which +children are taught to read and write is remembered.</p> + +<blockquote><p class="footnote"><a name="Footnote_1_5" +id="Footnote_1_5"></a><a +href="#FNanchor_1_5"><span class="label">[1]</span></a> <i>Realize</i> +is used in rhythmic gymnastics in the sense <i>express by movements of +the body</i>.</p></blockquote> + +<p>Oral and visual images of letters and words are impressed on the child +by reading aloud, and in this way the young brain easily masters the +difficult work of reading and writing. The Jaques-Dalcroze method +proceeds in exactly the same manner as regards the elements of music.</p> + +<p>When we have once realized this point, we are bound to wonder why music +teaching has not always been based on this elementary and unfailing +form. What would be said to teachers who tried to teach children to read +and write without letting them spell and read aloud? But this is what +has often been done in the teaching of music, and if children generally +show but little pleasure and interest in their first music lessons, the +fault does not lie with them but with our wrong method of making the +elements clear to them.</p> + +<p>As a matter of fact we generally do not make the latter clear to them, +and fail in the most important duty of the educator and teacher, namely, +that of making the child really experience what he is to learn.</p> + +<div class="sidenote">DEVELOPMENT OF MENTAL RESPONSE</div> + +<p>A rhythm in music consists of a regularly recurring series of +accented sounds, unaccented sounds, and rests, expressed in rhythmic +gymnastics by movements and inhibitions of movements. Individuals who +are rhythmically uncertain generally have a muscular system which is +irregularly responsive to mental stimuli; the response may be too rapid +or too slow; in either case impulse or inhibition falls at the wrong +mo<span class="pagenum">[Pg. 43]</span>ment, the change of movement is +not made to time, and the physical expression of the rhythm is +blurred.</p> + +<p>Although feeling for rhythm is more or less latent in us all and can be +developed, few have it naturally perfect. The method has many exercises +which are of use in this connexion. By means of these the pupil is +taught how to arrest movement suddenly or slowly, to move alternately +forwards or backwards, to spring at a given signal, to lie down or +stand up in the exact time of a bar of music—in each case with a +minimum of muscular effort and without for a moment losing the feeling +for each time-unit of the music.</p> + +<div class="sidenote">MENTAL HEARING. CONCENTRATION</div> + +<p>Physical movements repeatedly performed create corresponding images in +the brain; the stronger the feeling for the movement, i.e., the more the +pupil concentrates while making that movement, the clearer will be the +corresponding mental image, and the more fully will the sense for metre +and rhythm be developed.</p> + +<p>We might say that these movement images store up the innervations which +bring about the actual movement. They are for the body and its movements +what formulæ are for the mathematician.</p> + +<p>Developed out of many movements they become a complete symbol for the +rhythm expressed by the series of movements in question. Thus the pupil +who knows how to march in time to a given rhythm has only to close his +eyes and recall a clear image of the corresponding movements to +experience the rhythm as clearly as if he were expressing it by +marching. He simply continues to perform the movements mentally. If, +ho<span class="pagenum">[Pg. 44]</span>wever, his movements when +actually realizing the rhythm are weak or confused, the corresponding +mental images will be vague or incorrect, whilst movements which are +dynamically clear guarantee the accuracy of the corresponding mental +images and nerve-impulses.</p> + +<p>In practice the exercise consists in first mastering a rhythm played, +marching and beating time in the usual manner, then at <i>hopp</i> +discontinuing all movement, either for a number of bars previously +agreed upon or until the signal to resume is given by a second <i>hopp</i>. +In this exercise the teacher ceases to play at the first <i>hopp</i>.</p> + +<div class="sidenote">ANALYSIS AND DIVISION OF TIME VALUES</div> + +<p>The exercises of this group are designed to teach how to subdivide units +of time into parts of varying number. At <i>hopp</i> the crotchet must be +divided into quavers, triplets, semiquavers, etc., as may have been +previously arranged, or instead of <i>hopp</i> the teacher may call <i>three</i>, +<i>four</i>, etc., to indicate the subdivision which is to be expressed by +the corresponding number of steps. Apart from their direct object, the +exercises of this group are of value for the training which they give in +poise; they might be classed equally well with the group under +<i>Development of Mental Response</i>.</p> + +<p>Here, too, belong exercises in the realization of syncopation in +which, as the note is represented by the usual step, it comes off the +beat, the latter being indicated by a knee-bend which, in quick time, +becomes a mere suggestion of movement or is omitted, e.g., +<img src="images/045.png" alt="Music Staff" +style="vertical-align:text-bottom;" /></p> + +<p>These exercises in syncopation are perhaps some of the most difficult +in the method, as they demand an <span class="pagenum">[Pg. +45]</span>extraordinary control of inhibition. Individuals of musical +ability often find them difficult at first, and their easy performance +may be taken as evidence of a developed feeling for rhythm. As a rule +children find these exercises easier than do adults.</p> + +<div><img id="img07" class="center" src="images/img07.jpg" alt="Illustration" /></div> +<p class="caption">Beating 5/4 in canon without expression.</p> + +<div><img id="img08" class="center" src="images/img08.jpg" alt="Illustration" /></div> +<p class="caption">Beating 5/4 in canon with expression.</p> + +<div class="sidenote">REALIZATION OF TIME AND RHYTHM</div> + +<p>The object here is to express by rhythmic movements and without +hesitation rhythms perceived by the ear. The exactness of such +expression will be in proportion to the number of movements of which the +pupil has acquired automatic control. There is not time to analyse the +music heard; the body must <i>realize</i> before the mind has a clear +impression of the movement image, just as in reading, words are +understood and pronounced without a clear mental image of them being +formed.</p> + +<p>When the realization of a rhythm heard has become relatively easy, the +pupil is taught to concentrate, by listening to, and forming a mental +image of, a fresh rhythm while still performing the old one. In this +manner he obtains facility in rendering automatic, groups of movements +rhythmically arranged, and in keeping the mind free to take a fresh +impression which in its turn can be rendered automatic.</p> + +<p>Here again the process is analagous to that of reading, in which, while +we are grasping the meaning of a sentence, the eye is already dealing +with the next, preparing it in turn for comprehension.</p> + +<div class="sidenote">DEVELOPMENT OF INDEPENDENT CONTROL OF THE LIMBS</div> + +<p>Characteristic exercises of this group are: beating the same time +with both arms but in canon, beating two different tempi with the arms +while the feet march to one or <span class="pagenum">[Pg. +46]</span>other or perhaps march to yet a third time, e.g., the arms +3/4 and 4/4, the feet 5/4. There are, also, exercises in the +analysis of a given time unit into various fractions simultaneously, +e.g., in a 6/8 bar one arm may beat three to the bar, the other arm +two, while the feet march six.</p> + +<div class="sidenote">DOUBLE OR TRIPLE DEVELOPMENT OF RHYTHMS</div> + +<p>These exercises are a physical preparation for what is known in music as +the development of a theme. While the composers of fugues always use a +double or quadruple development, the method introduces an entirely fresh +element—the triple development, exercises in which are difficult but +extremely valuable.</p> + +<div class="sidenote">PLASTIC COUNTERPOINT AND COMPOUND RHYTHMS</div> + +<p>In plastic counterpoint the arms realize the theme, i.e., make as many +movements as there are notes, whilst the feet mark the counterpoint in +crotchets, quavers, triplets or semiquavers.</p> + +<p>A compound rhythm may be realized by the arms taking one rhythm, the +feet another; or the rhythms of a three part canon may be expressed by +simultaneous singing, beating with the arms and marching.</p> + +<p>These exercises correspond in the sphere of physical expression to the +technical exercises of instrumental work, for they teach the pupil to +express simultaneously impressions of the most varying nature.</p> + +<div class="sidenote">GRADATION OF MUSCULAR EFFORT. PATHETIC ACCENT. +PLASTIC EXPRESSION</div> + +<p><span class="pagenum">[Pg. 47]</span>The exercises already dealt with +have all the general purpose of developing feeling for rhythm by giving +training in the physical expression of rhythms. Those in this last group +aim at facility in making crescendos and decrescendos of innervation, in +passing from one shade of expression to another, in co-ordinating +movements, not only to the rhythm of the music played, but also to its +feeling; they allow free play to individuality, to temperament, and give +opportunity for that free self-expression for which the preceding +exercises have provided facility.</p> + +<p class="ralign"><span class="smcap">Percy B. Ingham.</span></p> + +<hr /> + +<h2><a name="LESSONS_AT_HELLERAU" id="LESSONS_AT_HELLERAU"></a>LESSONS AT HELLERAU</h2> + +<p><span class="pagenum">[Pg. 48]</span>Monsieur Jaques-Dalcroze's +lessons are full of vitality and entertainment, combined with the +serious work in hand. No slacking is possible. He will perhaps open a +rhythmic gymnastic lesson by playing a vigorous theme of one or two bars +in a rhythm such as the following:—</p> + +<p><img src="images/051.png" alt="Musica Rhythm" /></p> + +<p>which, as soon as it is grasped by the pupils, they begin to +<i>realize</i>,<a name="FNanchor_1_6" +id="FNanchor_1_6"></a><a href="#Footnote_1_6" class="fnanchor">[1]</a> +that is, to mark the tempo with the arms, and to move the feet according +to the notes. A note which contains more than one beat—for +instance, the minim in the first bar—is shown by taking one step +forward for the first beat and by a slight bend of the knee for the +second beat. The next two crochets are represented by one step for each. +A step is also taken for each quaver, but twice as quickly; for the +dotted crochet, a step and a slight spring before the last +quaver—all this while the arms are beating a steady four. After a +short practice of these two bars, the master will glide into yet another +rhythm, the pupils still realizing the first one, but at the same time +listening and mentally registering the one being played, so as to be +ready on the instant at the word of command, which is <i>hopp</i>, to +change to the new rhythm. We will suppose it to be as follows +<img src="images/051b.png" alt="Music Rhythm" />. +This, it will be noticed, is in 3/4 <span class="pagenum">[Pg. +49]</span>time. The pupils become accustomed to dropping frequently into +various times with the greatest ease. The three bars would then be +realized consecutively, and this process will continue until perhaps +there are six bars in all. These must all be so clear in the minds of +the pupils, that at the word of command, one bar, or two bars, can be +omitted on the instant, or be realized twice as quickly, or twice as +slowly; or what is still more complicated, the arms can beat the time +twice as slowly and the feet mark the notes twice as quickly. It seems +incredibly difficult to do at first, but the same training of +<i>thinking to time</i> occurs in every lesson, in improvisation and solfège, +as well as in the rhythmic gymnastic lessons, and so the invaluable +habits of concentrated thinking, of quick and definite action, and of +control of mind over body, become established.</p> + +<blockquote><p class="footnote"><a name="Footnote_1_6" +id="Footnote_1_6"></a><a +href="#FNanchor_1_6"><span class="label">[1]</span></a> See note, page +41</p></blockquote> + +<div><img id="img09" class="center" src="images/img09.jpg" alt="Illustration" /></div> +<p class="caption">The Air Bath.</p> + +<div><img id="img10" class="center" src="images/img10.jpg" alt="Illustration" /></div> +<p class="caption">The College: Entrance Hall.</p> + +<p>Each lesson is varied to a remarkable degree; in fact, Monsieur +Jaques-Dalcroze seldom repeats himself. Every day he has new ideas, +consisting of new movements, or of new uses for old ones, so that there +is never a dull moment. It must be understood, however, that the +alphabet and grammar of the movements remain the same, it is the +combinations of them that are limitless. The music is, of course, always +improvised.</p> + +<p>A word should be said on the subject of feeling two different rhythms +at the same time. Every teacher knows the difficulty children have in +playing three notes against four on the piano. The Hellerau children can +with ease beat four with one arm and three with the other, or beat three +with the arms and two or four with the feet, or <i>vice versa</i>. And +this is not learnt in <span class="pagenum">[Pg. 50]</span>any +mechanical way; the power for <i>feeling</i> two rhythms simultaneously +is developed. Advanced pupils can realize three rhythms at the same +time. They will perhaps mark one with the arms, another with the feet, +and sing yet a third.</p> + +<p>Another part of the work is to teach the pupils to express the type of +music that is being played; this is technically known as "Plastic +expression." The alphabet of this consists of twenty gestures with the +arms, which can be done in many various combinations and in various +positions, and by means of these any kind of emotion can be expressed. +Perhaps the music will begin by being solemn and grand, becoming even +tragic, and gradually the tones and melody will rise to cheerfulness, +the rhythm will become more animated and the tone swell out again until +a perfect ecstasy of joy is reached—and all the while the figures of +the pupils are harmonising absolutely with the music, trained as they +are to listen accurately to every note, every accent, every change of +key and, above all, every rhythm. To the watcher such an exercise is +effective and striking in the highest degree.</p> + +<p>Realizing syncopated passages is a fine exercise for developing +independence of movement in the arms and feet, as the feet move in +between the beats of the arms. Let any one try to realize a simple +measure in syncopation. For instance, take a bar of 4/4 time +<img src="images/055.png" alt="Music Rhythm" />. +The first beat of the arms and the first step will come together, the +second beat of the arms will come half-way between the second and third +steps, the third beat <span class="pagenum">[Pg. 51]</span>half-way +between the third and fourth steps, and the fourth beat half-way between +the fourth and fifth steps, and this should be done with no contraction +of muscle or appearance of effort.</p> + +<p>Other exercises consist of beating various times in canon, that is, +one arm beginning one beat later than the other; of beating different +times with each arm, perhaps seven with one arm and three with the +other; of marching to one rhythm and beating time to another; of simple +marching and at the word of command taking one step backward, and then +forward again; of marching the counterpoint of a rhythm. For instance, +if the rhythm played be <img src="images/056a.png" alt="Music Rhythm" /> +the counterpoint in crochets would be <img src="images/056b.png" +alt="Music Rhythm" />, or if it is to be in quavers it would be +<img src="images/056c.png" alt="Music Rhythm" />. The counterpoint can +be filled in with triplets, semiquavers, or with notes of any other +value.</p> + +<p>Another good exercise is to take a simple rhythm and at the word of +command realize it twice or three times as quickly or as slowly, the +arms still beating in the first tempo. A simple example will make this +clear. <img src="images/056d.png" alt="Music Rhythm" /> twice as quickly +would become <img src="images/056e.png" alt="Music Rhythm" />.</p> + +<p>The pupils are often asked to listen to what is played and then to +realize it. It may be a series of four bars, each one in a different +tempo, and all times are employed, including 5/4, 7/4, 9/3 and +others which are somewhat exceptional. And so on <i>ad infinitum</i>.</p> + +<p>From these suggestions something of the +endless <span class="pagenum">[Pg. 52]</span>variety of exercises that +may be devised can probably now be imagined.</p> + +<p>As soon as movements become automatic they are used as units for +building up more elaborate movements, and no time is wasted in doing +merely mechanical exercises. In every detail of the method the brain is +called into constant activity, and, lest any one should think that it +would be easy for one pupil to copy another in doing the exercises, it +should be stated that, if such a thing were attempted, it would end in +the pupil becoming hopelessly confused, for if the mind once loses hold +of the work in process it is very difficult to pick it up again.</p> + +<p>The solfège lessons are chiefly for ear-training and practical +harmony. In the elementary classes it is shown how scales and chords are +formed, and where the tones and semitones occur. The pupils soon become +able to tell, when three consecutive notes from any scale are played, +what degrees of the scale they are, or may be. Scales are sung always +beginning on C for every key and always to a rhythm. Here, again, the +pupils have to think to time, for in the second scale, which would be +that of F, if the flat scales were being sung, they have to remember +that they are starting on the fifth note of the scale, and that the +interval between the third and fourth notes of the scale is a semitone; +that the third and fourth degrees in the key of F are A and B, and +therefore the B has to be flattened in this scale, the other notes +remaining the same. The whole cycle of scales is sung in this manner, +each one commencing on C, or on C flat when necessary. The pupils are +also practised in listening to a scale played and +then <span class="pagenum">[Pg. 53]</span>saying in which key it is, +judging it by the fall of the semitones.</p> + +<div><img id="img11" class="center" src="images/img11.jpg" alt="Illustration" /></div> +<p class="caption">Class Rooms.</p> + +<div><img id="img12" class="center" src="images/img12.jpg" alt="Illustration" /></div> +<p class="caption">The College: Interiors.</p> + +<p>Chords are sung analytically and in chorus, with their resolutions when +needed, and this is followed by practice in hearing and naming chords.</p> + +<p>Sight singing and transposition are by no means neglected, and there is +practice in singing intervals, in singing a piece once or twice through +and then from memory, or in another key, which is not so easy to do when +the fixed <i>Do</i> is used. And always, whatever is being done, the pupils +have to be prepared for the word <i>hopp</i>, to make any change which has +been previously agreed on, e.g., to sing on the instant in a key a +semitone lower, or to sing in thought only until the next <i>hopp</i>, when +they sing aloud again. In these exercises, as in those of the rhythmic +gymnastics, there is no end of the variety of combination possible. +There is also opportunity for practice in conducting, and very +interesting it is, in a children's class, to note with what assurance a +small girl of perhaps seven or eight will beat time for the others to +sing one of their songs, and also to note the various renderings each +conductor will obtain of the same piece.</p> + +<p>The improvisation on the piano is perhaps the most difficult part of +the system to master. It may not be realized by all people that <i>every +one can be taught to play original music</i>. There are cases in which +the pupil is not naturally musical, and has had no previous knowledge of +piano playing, but has learnt to improvise sufficiently well to give a +good lesson in rhythmic gymnastics, which means no small degree of +ability. This <span class="pagenum">[Pg. 54]</span>training is begun by +making use of the simplest, i.e., the common, chords, and when these are +known in every key, including those on the dominant, the pupil is +expected to improvise a short piece of eight bars, the chief feature to +be attended to being the rhythm, which has to be definite and played +without hesitation. When perfect familiarity is obtained with the common +chord of each key and with that of its dominant, another chord is +learnt, that on the sub-dominant. With these three chords alone quite +charming little pieces can be played, and gradually in this manner the +pupil has at his command passing notes, appoggiaturas, cadences, and an +unlimited number of chords and sequences. Then come the rules for +modulating from one key to another, and equal facility in all keys is +insisted on. Monsieur Jaques-Dalcroze's pupils learn to improvise with +definite thought and meaning, nothing unrhythmical is ever allowed, nor +any aimless meandering over the keyboard. For these lessons the pupils +are divided into small groups of not more than six in each, and twice a +week these groups are taken altogether by Monsieur Jaques-Dalcroze.</p> + +<p>All branches of the work demand perfect concentration of thought and +attention, and such invaluable mental training cannot be too highly +prized, for it is fundamental to success in work of any kind, whatever +it may be.</p> + +<p class="ralign"><span class="smcap">Ethel Ingham.</span></p> + +<div><img id="img13" class="center" src="images/img13.jpg" alt="Illustration" /></div> +<p class="caption">The Hostel: Interiors.</p> + +<hr /> + +<p><span class="pagenum">[Pg. 55]</span></p> + +<h2><a name="LIFE_AT_HELLERAU" id="LIFE_AT_HELLERAU"></a>LIFE AT HELLERAU</h2> + +<p>Surely never before has the world held better opportunities for studying +and loving the beautiful and true. One need be but a few days in +Hellerau in order to see some of the many advantages which a stay there +has to offer. For young men and women searching for a profession in +life; for those fresh from school while waiting to discover their +natural bent; for adults who seek a change from their ordinary +surroundings and who wish to improve in culture and in health; for +musicians and students in art, for teachers of dancing, and for children +of all ages, a course of study at the College in Hellerau contains +advantages and opportunities which seem to exist in no other educational +institution.</p> + +<p>For the convenience of young girls there is a hall of residence, which +will accommodate about forty-six students, the head of which is a +cultured English lady of wide experience. There are also many small +houses on adjoining land, in which the male students and those who are +older can live. These may, and as a rule do, come to the Hostel for +meals.</p> + +<p>The home life in the Hostel is a cheerful one. The bedrooms are +bright, containing just the necessary furniture, which of course +includes a piano. There is a large and charmingly furnished room opening +from the hall, known as the Diele, which serves as a general +sitting-room for the students. The dining-room is equally delightful, +and can be quickly converted into a ball-room for impromptu dances, or +adapted for other entertainments. <span class="pagenum">[Pg. +56]</span>There is also a library; and throughout the whole house the +same good taste is displayed. Leading from the dining-room is a large +terrace, with steps down into an attractive garden.</p> + +<p>The day commences with the sounding of a gong at seven o'clock; the +house is immediately alive, and some are off to the College for a +Swedish gymnastic lesson before breakfast, others breakfast at half-past +seven and have their lesson later. There is always a half hour of +ordinary gymnastics to begin with. Then there will be a lesson in +Solfège, one in Rhythmic Gymnastics, and one in Improvisation, each +lasting for fifty minutes, with an interval of ten minutes between each +lesson.</p> + +<div><span class="pagenum">[Pg. 57]</span><img id="img14" class="center" +src="images/img14.jpg" alt="Illustration" /></div> +<p class="caption">The Hostel.</p> + +<p>Dinner, which is at a quarter-past one, is followed by an hour for +rest; and at three the energetic people begin practising. The afternoons +are usually free, except twice a week, when there are lessons in +"Plastic" and dancing from four till six, before which tea is served, or +there may be extra lessons in rhythmic gymnastics for small groups of +pupils who need further help, and students may obtain the use of a room +for private practice together. In the afternoons, too, there is time and +opportunity for any other extra study or lessons which are not included +in the ordinary course, such as violin, solo singing, drawing or +painting. Most of the students soon acquire wide interests, if they do +not have them when they first come. Free afternoons may be spent in +visiting the galleries and shops of Dresden. Whenever there is anything +especially good in the way of a concert, or an opera or a classical +play, there is always a party of enthusiasts going into town for it. The +opera in Dres<span class="pagenum">[Pg. 58]</span>den, as in other parts +of Germany, fortunately begins and ends early. Late hours are not +encouraged at the Hostel—indeed, everybody is glad to retire +early, for the work is absorbing and demands plenty of energy, +especially if the full teachers' course be taken, with the hope of a +diploma at the end of two years.</p> + +<p>Supper is served at a quarter-past seven, and on two evenings a week +those who wish to join the orchestral or choral societies have the +pleasure of meeting together and practising under the direction of +Monsieur Jaques-Dalcroze.</p> + +<p>An atmosphere of enthusiasm and good-will permeates the social life. No +community of the kind could have a more delightful spirit of unity than +that which pervades the Jaques-Dalcroze School. All students are keen +and anxious to live as full a life as possible, every one will willingly +and unselfishly take time and trouble to help others who know less than +themselves. The College has a unity born of kindred interests, and every +one glows with admiration and esteem for the genius at the head, and for +his wonderful method, whilst he himself simply radiates good-will and +enthusiasm, and works harder than any one else in the place. He makes a +point of knowing each one of his pupils personally, and remarkably quick +he is in summing up the various temperaments and characters of those +with whom he comes into contact.</p> + +<p>The moral and mental tone of the College is pure and beautiful, +indeed it could not well be otherwise, for the work in itself is an +inspiration. A change is often observable in pupils after they have been +but a few weeks in residence, a change which tells of more alertness +of <span class="pagenum">[Pg. 59]</span>mind, of more animated purpose, +and even of higher ideals and aims in life.</p> + +<div><img id="img15" class="center" src="images/img15.jpg" alt="Illustration" /></div> +<p class="caption">Dresden from Hellerau.</p> + +<p>There are opportunities for the practice of many languages, for it is a +cosmopolitan centre. Nearly all European nationalities are represented, +but as yet the number of English people is not large. This, however, +will not long remain so, for the Jaques-Dalcroze method needs only to be +known in order to be as widely appreciated in Great Britain and the +United States as it is on the Continent.</p> + +<p>The lessons are given in German, though occasionally French is used to +make clear anything that is not quite understood in the former tongue. +English people who do not know either of these languages need not look +upon this as an obstacle, for one quickly arrives at understanding +sufficiently well to gain the benefit from the lessons, and there is +always some one in the classes who will interpret when necessary.</p> + +<p>The College itself is a fine example of the value of simplicity and +space in architecture. Both without and within, the block of buildings +is impressive, this effect being gained by an extreme simplicity of +decoration. The most modern methods of heating and ventilating are +provided, and there are large sun and air baths.</p> + +<p>Completed in the spring of this year, and with accommodation for five +hundred students, the settlement stands on high ground about four miles +from Dresden, in an open, bracing, healthy spot, with charming walks in +all directions. The views are extensive; to the south lie the +Erzgebirge, to the south-east Saxon Switzerland, and, in a dip of the +nearer hills, Dresden.</p> + +<p class="ralign"><span class="smcap">Ethel Ingham.</span></p> + +<hr /> + +<p><span class="pagenum">[Pg. 60]</span></p> + +<h2><a name="THE_VALUE_OF_EURHYTHMICS_TO_ART" +id="THE_VALUE_OF_EURHYTHMICS_TO_ART"></a>THE VALUE OF EURHYTHMICS TO +ART</h2> + +<p>One of the most marked tendencies of modern aesthetic theory is to break +down the barriers that convention has erected between the various arts. +The truth is coming to be realized that the essential factor of poetry, +painting, sculpture, architecture and music is really of the same +quality, and that one art does not differ from another in anything but +the method of its expression and the conditions connected with that +method.</p> + +<p>This common basis to the arts is more easily admitted than defined, but +one important element in it—perhaps the only element that can be given +a name—is rhythm. Rhythm of bodily movement, the dance, is the earliest +form of artistic expression known. It is accompanied in nearly every +case with rude music, the object being to emphasize the beat and +rhythmic movement with sound. The quickness with which children respond +to simple repetition of beat, translating the rhythm of the music into +movement, is merely recurrence of historical development.</p> + +<p>Words with the music soon follow, and from these beginnings—probably +war-songs or religious chants—come song-poems and ultimately poetry as +we know it to-day. The still more modern development of prose-writing, +in the stylistic sense, is merely a step further.</p> + +<p>The development on the other side follows a +some<span class="pagenum">[Pg. 61]</span>what similar line. The rhythm +of the dancing figure is reproduced in rude sculpture and bas-relief, +and then in painting.</p> + +<div><img id="img16" class="center" src="images/img16.jpg" alt="Illustration" /></div> +<p class="caption">A Plastic Exercise.</p> + +<p>So we have, as it were, a scale of the arts, with music at its centre +and prose-writing and painting at its two extremes. From end to end of +the scale runs the unifying desire for rhythm.<a name="FNanchor_1_7" +id="FNanchor_1_7"></a><a href="#Footnote_1_7" +class="fnanchor">[1]</a></p> + +<blockquote><p class="footnote"><a name="Footnote_1_7" +id="Footnote_1_7"></a><a +href="#FNanchor_1_7"><span class="label">[1]</span></a> For valuable +help in these ideas I am indebted to Mr. J. W. Harvey. I should like to +quote verbatim one or two remarks of his on the subject, taken from a +recent letter: "Human motion gives the convergence of time (inner sense) +and space (outer sense), the spirit and the body. Time, which we are in +our inner selves, is more dissociable from us than space, which only our +bodies have; the one (time) can be interpreted emotionally and directly +by a time-sense; the other (space) symbolically, by a space-sense, which +is sight."</p></blockquote> + +<p>To speak of the rhythm of painting may seem fanciful, but I think that +is only lack of familiarity. The expression is used here with no +intention of metaphor. Great pictures have a very marked and real +rhythm, of colour, of line, of feeling. The best prose-writing has +equally a distinct rhythm.</p> + +<p>There was never an age in the history of art when rhythm played a more +important part than it does to-day. The teaching of M. Dalcroze at +Hellerau is a brilliant expression of the modern desire for rhythm in +its most fundamental form—that of bodily movement. Its nature and +origin have been described elsewhere; it is for me to try and suggest +the possibilities of its influence on every other art, and on the whole +of life.</p> + +<p>Let it be clearly understood from the first that the rhythmic +training at Hellerau has an importance far deeper and more extended than +is contained in its imme<span class="pagenum">[Pg. 62]</span>diate +artistic beauty, its excellence as a purely musical training, or its +value to physical development. This is not a denial of its importance in +these three respects. The beauty of the classes is amazing; the actor, +as well as the designer of stage-effects, will come to thank M. Dalcroze +for the greatest contribution to their art that any age can show. He has +recreated the human body as a decorative unit. He has shown how men, +women and children can group themselves and can be grouped in designs as +lovely as any painted design, with the added charm of movement. He has +taught individuals their own power of gracious motion and attitude. +Musically and physically the results are equally wonderful. But the +training is more than a mere musical education; it is also emphatically +more than gymnastics.</p> + +<p>Perhaps in the stress laid on individuality may be seen most easily +the possibilities of the system. Personal effort is looked for in every +pupil. Just as the learner of music must have the "opportunity of +expressing his own musical impressions with the technical means which +are taught him,"<a name="FNanchor_1_8" +id="FNanchor_1_8"></a><a href="#Footnote_1_8" class="fnanchor">[1]</a> +so the pupil at Hellerau must come to improvise from the rhythmic sense +innate in him, rhythms of his own.<a name="FNanchor_2_9" +id="FNanchor_2_9"></a><a href="#Footnote_2_9" +class="fnanchor">[2]</a></p> + +<blockquote><p class="footnote"><a name="Footnote_1_8" +id="Footnote_1_8"></a><a +href="#FNanchor_1_8"><span class="label">[1]</span></a> Cf. supra, p. +28.</p> + +<p class="footnote"><a name="Footnote_2_9" +id="Footnote_2_9"></a><a +href="#FNanchor_2_9"><span class="label">[2]</span></a> A good example +of the fertility and variety of the individual effort obtained at +Hellerau was seen at the Aufführung given on December 11, 1911. Two +pupils undertook to realize a Prelude of Chopin, their choice falling by +chance on the same Prelude. But hardly a movement of the two +interpretations was the same. The first girl lay on the ground the whole +time, her head on her arm, expressing in gentle movements of head, hands +and feet, her idea of the music. At one point near the end, with the +rising passion of the music, she raised herself on to her knees; then +sank down again to her full length.</p> + +<p> +The second performer stood upright until the very end. At the most +intense moment her arms were stretched above her head; at the close of +the music she was bowed to the ground, in an attitude expressive of the +utmost grief. In such widely different ways did the same piece of music +speak to the individualities of these two girls.</p></blockquote> + +<p><span class="pagenum">[Pg. 63]</span>To take a joy in the beauty of +the body, to train his mind to move graciously and harmoniously both in +itself and in relation to those around him, finally, to make his whole +life rhythmic—such an ideal is not only possible but almost +inevitable to the pupil at Hellerau. The keenness which possesses the +whole College, the delight of every one in their work, their +comradeship, their lack of self-consciousness, their clean sense of the +beauty of natural form, promises a new and more harmonious race, almost +a realization of Rousseau's ideal, and with it an era of truly rhythmic +artistic production.</p> + +<p>That the soil is ready for the new seed may be shown by a moment's +consideration of what I consider to be a parallel development in +painting. There is in Munich a group of artists who call themselves Der +Blaue Reiter. They are led by a Russian, Wassily Kandinsky, and a +German, Franz Marc, and it is of Kandinsky's art that I propose to +speak. Kandinsky is that rare combination, an artist who can express +himself in both words and paint. His book—<i>Über das +Geistige in der Kunst</i><a name="FNanchor_1_10" +id="FNanchor_1_10"></a><a href="#Footnote_1_10" +class="fnanchor">[1]</a>—is an interesting and subtle piece of +aesthetic philosophy. His painting is a realization of the attempt to +paint music. He has isolated the emotion caused by line +and <span class="pagenum">[Pg. 64]</span>colour from the external +association of idea. All form in the ordinary representative sense is +eliminated. But form there is in the deeper sense, the shapes and +rhythms of the <i>innerer Notwendigkeit</i>, and with it, haunting, +harmonious colour. To revert to a former metaphor, painting has been +brought into the centre of the scale. As Kandinsky says in his book: +"Shades of colour, like shades of sound, are of a much subtler nature, +cause much subtler vibrations of the spirit than can ever be given by +words." It is to achieve this finer utterance, to establish a surer and +more expressive connexion between spirit and spirit, that Kandinsky is +striving. His pictures are visions, beautiful abstractions of colour and +line which he has lived himself, deep down in his inmost soul. He is +intensely individual, as are all true mystics; at the same time the +spirit of his work is universal.</p> + +<blockquote><p class="footnote"><a name="Footnote_1_10" +id="Footnote_1_10"></a><a +href="#FNanchor_1_10"><span class="label">[1]</span></a> <i>Über +das Geistige in der Kunst.</i> Piper Verlag, München, 3 Marks. See +also vol. i. of <i>der Blaue Reiter</i>. Piper Verlag, 10 +Marks.</p></blockquote> + +<p>In this, then, as in so much else, Kandinsky and Dalcroze are advancing +side by side. They are leading the way to the truest art, and ultimately +to the truest life of all, which is a synthesis of the collective arts +and emotions of all nations, which is, at the same time, based on +individuality, because it represents the inner being of each one of its +devotees.</p> + +<p class="ralign"><span class="smcap">Michael T. H. Sadler.</span></p> + +<hr /> + +<p class="center"><i>Printed by</i> <span class="smcap">Butler & Tanner</span>, <i>Frome and London</i>.</p> + +<div><img id="img17" class="center" src="images/img17.jpg" alt="Illustration" /></div> +<p class="caption">A Plastic Exercise.</p> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Eurhythmics of Jaques-Dalcroze, by +Emile Jaques-Dalcroze + +*** END OF THIS PROJECT GUTENBERG EBOOK THE EURHYTHMICS OF JAQUES-DALCROZE *** + +***** This file should be named 21653-h.htm or 21653-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/1/6/5/21653/ + +Produced by David Newman, V. L. 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