Read Ebook: The Eurhythmics of Jaques-Dalcroze by Jaques Dalcroze Mile

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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 responsive, 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.

From many years' experience of music teaching I have gradually produced a method which gives a child musical experiences instead of musical knowledge.

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 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.

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.

Rhythm is infinite, therefore the possibilities for physical representations of rhythm are infinite.

I consider it unpardonable that in teaching the piano the whole attention should be given to the imitative faculties, and that the pupil should have no opportunity whatever of expressing his own musical impressions with the technical means which are taught him.

Whether the teacher himself be a genius is of little importance, provided he is able to help others to develop their own talents.

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.

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.

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 prepare 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.

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.

THE JAQUES-DALCROZE METHOD

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 , 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 L?o 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.

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.

The wider experience which the new sphere of work brought was to a certain extent a disappointment, for 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 feelings, while to become a composer he must traverse a road that only natural talent can render easy.

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.

So far only arm movements had been employed, and those merely the conventional ones of the conductor. 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, Fr?ulein 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.

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, properly used, might be of enormous value in the education of children. With characteristic energy Jaques-Dalcroze, inspired by the new idea, took up the study of psychology, in which he was helped by his friend, the psychologist Clapar?de, 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.

Address to students, Dresden, 1911 .

"It is true that I first devised my method as a musician for musicians. But the further I carried my experiments, the more I noticed that, while a method intended to develop the sense for rhythm, and indeed based on such development, is of great importance in the education of a musician, its chief value lies in the fact that it trains the powers of apperception and of expression in the individual and renders easier the externalization of natural emotions. Experience teaches me that a man is not ready for the specialized study of an art until his character is formed, and his powers of expression developed."

In 1906 was held the first training-course for teachers; how the method has since grown can be realized by noting that a fortnight was then considered a sufficient period of training, whilst now the teachers' course at Hellerau requires from one to three years' steady work. In the years 1907-9 the short teachers' courses were repeated; in the latter year the first diploma was granted, experience having shown the need of this, for already individuals in all parts of the world, after but a few days' training, in some cases after merely being spectators at lessons, were advertising themselves as teachers of the method. In 1910 Jaques-Dalcroze was invited by the brothers Wolf and Harald Dohrn to come to Dresden, where, in the garden suburb of Hellerau, they have built him a College for Rhythmic Training, a true Palace of Rhythm.

In the preparation of this chapter free use has been made of the writings of M. Jaques-Dalcroze and of Dr. Wolf Dohrn, Director of the College of Music and Rhythm, Hellerau, Dresden.

The method naturally falls into three divisions--

Rhythmic gymnastics proper. Ear training. Improvisation .

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.

Is of the greatest importance as an adjunct to rhythmic gymnastics, since it is through the ear that rhythm-impressions are most often and most easily obtained. Jaques-Dalcroze naturally uses his own methods of ear-training, which are extremely successful, but he does not lay stress on them; he does, however, emphasize the need of such training, whatever the method, as shall give the pupil an accurate sense of pitch, both absolute and relative, and a feeling for tonality. The more these are possessed the greater the use which can be made of rhythmic gymnastics.

To repeat: the essentials are that the teacher have the power of free expression on some musical instrument, the pupil that of hearing correctly.

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.

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.

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.

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 the innervations suggested by those images take the place of the movements.

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.

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.

This group of exercises is a natural extension of those preceding.

Again, the pupil learns to realize 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 in which children are taught to read and write is remembered.

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.

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.

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.

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 moment, the change of movement is not made to time, and the physical expression of the rhythm is blurred.

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.

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 formulae are for the mathematician.

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, however, 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.

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.,

These exercises in syncopation are perhaps some of the most difficult in the method, as they demand an 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.

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.

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.

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 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.

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.

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.

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.

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.

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