Jaques-Dalcroze and the Principles of Eurhythmics: Learning Music through Movement

Jaques-Dalcroze Emile Jaques-Dalcroze (July 6, 1865 – July 1, 1950), was a Swiss composer, musician and music educator who developed eurhythmics, a method of learning and experiencing music through movement.

Basic Principles

Inherent in his method are these basic principles &endash; truths he believed to be omnipresent. These six principles are:

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• The beginning of music happens when human emotions are translated into musical motion;
• We experience emotions physically;
• Through our sensations of various muscular contractions and releases in our bodies, we sense emotion;
• The body expresses internal emotions by externalizing affect through movements, postures, gestures, and sounds. Some of these are automatic, some spontaneous, and others the results of thought and will;
• Internal emotions are translated into music through motions such as breathing, singing or playing an instrument;
• The first instrument that must be trained in music is the human body.
• The Jaques-Dalcroze Method

Choksy (1986) defines Eurhythmics as follows: "Eurhythmics . . is . . . based on the premise that rhythm is the primary element of music, and that the source for all rhythm may be found in the natural rhythms of the body. " Eurhythmics integrates three approaches:

• Solfege (the study of theory, harmony, and scales); http://www. youtube. com/watch? v=9qK6seVVBQ0
• Improvisation (the development of a unified internal ear and body);
• Rhythmics (the exploration of inner and outer effects of rhythm in relation to the above two elements). Further, Jaques-Dalcroze developed a formula for the production of Eurhythmia.

Space + Time + Energy + Weight + Balance + Plasticity = Eurhythmia? Gravity The best music happens when all of the above are balanced. The Jaques-Dalcroze method seemingly redefines the basic elements of music to fit within scientific definitions. It is a well established fact that all things are made up of matter. Matter is comprised of energy. Matter flows through space; energy flows through space. Matter (energy) flowing through space is called motion. Motion appears in music as beats. Those beats release their energy in various ways.

The beat therefore is dependent upon the level of energy applied and the density of the space applied. Beats have a specified duration, or time value. The quality of the time is dependent upon how the beat is struck, sustained and released. Jaques-Dalcroze found that his students associated dynamic (energy) changed with tempo (time) changes, i. e. , softer meant slower also. This however is not the case. One goal of the method is to gain independence of time and energy as related to change so that students could indeed play a musical selection softer without getting slower.

Beats have weight. Science defines weight as a body's attraction to the earth (which is related to gravity). When one watches a good conductor in front of an ensemble, one can sense weight in his every stroke and pattern. Weight can also be perceived in a line of music. A solo line would have less weight than that of an eight part chorus. Likewise, the addition of low-sounding instruments in an orchestration gives a greater sense of weight. Note duration can also de indicative of weight (in appearance). Balance can be achieved only when weight is kept in control.

Balance is a vital element of rhythm. (Caldwell,1995) The ultimate goal of the Jaques-Dalcroze method is to achieve a balance between all the elements that comprise the beat; space, energy, plasticity, and weight. It is impossible to separate the elements, therefore the method focuses on individual elements of the beat. Jaques-Dalcroze defines plasticity as the quality of the movement between the pitches. This is what makes the performance alive and vibrant and is largely responsible what the audience sees and hears.

I think of plasticity as that gesture, expression or image that the performer conveys along with the other elements of the beat. As mentioned earlier the ultimate goal of the Jaques-Dalcroze method is improvisation: the creation of original sound. According to Jaques-Dalcroze method, improvisation incorporates the following:

• Use of all faculties
• Exploration of movement with our bodies;
• Imagination and creativity;
• Consciousness of space and time around us;
• Flexibility and agility;
• Motor coordination;
• Expression through use of the body and sound; Careful and critical listening;
• Concentration and attentiveness;
• Flexibility. The study of the Jaques-Dalcroze method requires the utmost in attention, concentration, memory, and ability to reproduce.

It is a disciplined study. The role of the educator thus becomes one who focuses the energy inherent in students and transfers that energy into the production of eurhythmia.

The Classroom Setting

In my experiences it is evident that it would be difficult to train anyone effectively in the Jaques-Dalcroze method unless it was begun at an early age.

Dalcroze himself recommended "to bring children to art at an age when they have not yet been intellectualized into analyzing before observing, and expressing before experiencing. " (Dalcroze,1922) In short, the method would have to be taught during the age of innocence. The theory would also have to be constantly reinforced throughout life, even in college. The method has obvious merit in the elementary school, because it involves movement. Children learn best when moving, feeling, touching, sensing, and seeing things close at hand. The Jaques-Dalcroze method achieves just that.

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