Dalcroze PDF

8/10/2019 Dalcroze PDF

http://slidepdf.com/reader/full/dalcroze-pdf 1/21

1865 - 1950



• Émile Jaques-Dalcroze was a composer, musician and music educatorwho developed eurhythmics, a method of learning and experiencingmusic through movement between late 19th century and early 20th century

• Dalcroze was born on July 6, 1865 in Vienna, Austria.• He became a professor of harmony at the Geneva Conservatory in

1892; by which time he started developing his method of teachingrhythm through movement known as eurhythmics.

• He founded a school in Hellerau, Germany (later moved toLaxenburg) in 1910, and another school in Geneva in 1914, wherestudents learned using his method.



• It was introduced to United States in 1915• Most public schools could not provide time and space for it to

be taught in its authentic form•

But some teachers adapted the procedures and some wereinfluenced by the approach• The use of “walking” and “running” through quarter and eighth

notes is one common example in the elementary school.•

By 1930s a number of colleges music schools or physicaleducation requires courses in eurhythmic



• Music study at that time was divided into segmented courses such asharmony, sight-singing, form and analysis and etc.

• Dalcroze noticed that students only knew music in an intellectual way.

… When he asked students to write down chords during their

harmony classes, he discovered that they were not really hearing what

they had written, ……. It became clear to him that traditional method of

training musicians concentrated on the intellect and fail to give student

experiences …..” (Dobbs, 1968, p.g. 13)



• He also noticed that students had trouble in performing rhythmicpatterns but no problem with rhythmic motor activities such aswalking

• From the observation, he concluded that people instinctivelyhave musical rhythm BUT do not transfer these instinct into music



• The Dalcroze method, also known as DalcrozeEurhythmics , is another

approach music educators use to foster music appreciation, ear-training and improvisation while improving musical abilities.

• In this method, theHUMAN BODYis themain musical instrument.Students listen to the rhythm of a music piece and express what theyhear through movement.

• Music begins when human emotion is translated into musical movemen•

Simply put, this approach connects music, movement, mind, and body.• Eurhythmic – comes from the Greek word – good rhythm or flow• Eurhythmics-trains the body inrhythm &dynamics



• The purpose of this rhythm is to create rhythmic sensitivity in thestudents by making them feel musical rhythm in their entire bodies

• Musical concept are also reinforced through physical movements• Sometimes the student begin with representation of idea, which they

are familiar with – tried without music.• EXAMPLE – walking with steps that becomes more energetic.

- next the student listens to music in which crescendo iseasily heard

- Afterwards movement is synchronized with music- the termcrescendo joins in through bodily movement and

later the musical symbol be represented- In more advanced classes, students may use the idea of

notation and improvisation



• There are method has 3 facets:

1) Eurhythmics (Greek for "good rhythm or flow")

Musical expression through movement; developing musical skillsthrough kinetic exercises. Students learn rhythm and structure bylistening to music and expressing what they hear throughspontaneous bodily movement.For example, note values and rhythms are represented bystepping and clapping.



• The purpose of the movement is to create rhythmic sensitivity inthe students by making them feel musical rhythm in their entirebodies

• Musical concepts are also reinforced through physicalmovements



• Sometimes the student begin with representation of idea, whichthey are familiar with – tried without music.

• EXAMPLE – walking with steps that becomes more energetic.

- next the student listens to music in which crescendo iseasily heard- Afterwards movement is synchronized with music- the term crescendo joins in through bodily movement

and later the musical symbol be represented- In more advanced classes, students may use the ideaof notation and improvisation



• The physical movements are not predetermined, but rather arethe spontaneous products of each other

• Therefore great differences are usually seen in the responses ofa group of students to the same music

• Example---- From Dalcroze book, 1 (one) rhythmic exercises arecited to give a clearer idea of the type of activity that takeplace in the classes:



• FOLLOWING the MUSIC, EXPRESSING TEMPO and TONEQUALITY

The teacher at the piano improvises music to which students marchin a circle, stepping their feet on the beat

Quarter notes/quaver are indicated normally bynormal walk ;Eighth notes – running steps ;Half note/minim – by a step ;

The teacher varies the expression of playing by perhaps increaseor decrease the intensity of tone, play slower or faster making thestudents follow the variety created to make the students producepatterns or structures



2) Solfege (fixed-do)

• Helps develop ear-training and sight-singing skills.• Familiar pitch are often used butdo is always “C” and di isalways C# and so on (Fix do)• Dalcroze thought that solfege singing develops the ability to

listen and remember tonal patterns• Singing and hand positions for designating the level of pitchesof the scale are used in learning solfege, and these activities

precede experience with notation



• Much emphasis in placed oninner hearing – the ability toimagine music in the mind

• Singing engages inner hearing. You cannot sing without firsthearing a sound in your head – you can reproduce a sound onan instrument without inner hearing.

• Singing is available to everyone. Vocal exercise such as singingone part and signing the other encourages harmonic hearing.

• Students in Dalcroze classes sing intervals and songs withsyllables

• Some of the measures in the song are sung aloud, and someother are sung silently in the mind



• A melody would be placed on the blackboard with some emptymeasures which the student would be expected to fill in,improvising, as he sang the melody for the first time



• Another exercise involved writing a melody on the blackboardand as the students sang through it, each phrase was erasedupon completion of the initial singing. A student will be asked tosing the entire melody by memory



• The “inner hearing” is one of the important features of Dalcroze music method.• Carefully listens to a pitch, singsinside and comprehends the tone in one’s mind

without singing out loud can both enhancechildren’s perception of music toneand stimulate children’s sensitivity to a pitch (Mead, 1986 ).

• This research also included the“inner hearing” as part of the training andexperiment. The second selection of recorded music was the well-knownchildren’snursery song, Twinkle, Twinkle, Little Star to asses the training of “inner hearing”for this part of the experiment.

• Thestudents were required to remain silent whenever the “la” and “sol” notesappeared in the song. Students were next engaged in singing the complete song,Twinkle, Twinkle, Little Star, along with body movement, such as clapping, andsnapping on the 2nd and 3rd beat of the music (Figure 1).

•

The purpose of this activity is not only to help students sing the pitches of the 2ndand 3rd beat in silently in their won minds, but also to develop a concreteunderstanding of what the exact pitches were after all the 2nd and 3rd beats inthe song; and the exercise can also train students to clap and snap on the correctbeat and so improve students’ ability to interact with other student



3) Improvisation

• Is the 3rd branch of Dalcroze• He believes that each student should have the experience ofexpressing his or her own musical ideas.• Improvisation begins on percussion instruments, or with the voice



• Example – a child will be given one measure to which he or sheimprovises a response, all the while maintaining the basic beat. Spokencommands or signals are given while the improvisation is going on. Thispractice trains the children to listen more carefully and encourages

development skills.

When a student is executing a rhythmic pattern with the feet,

they may be asked to do a contrasting pattern with the arms.

*** When students successfully improvised with their voices and onpercussion instruments, they begin to improvise with piano. (improvisingusing piano are stress for advanced students and teachers)



• https://www.youtube.com/watch?v=UWif5Xss_Ec (circle – doing movements and changing on specific patterns)

• https://www.youtube.com/watch?v=usJ8_Lq-lDY

( jumping – only on 4th beat with the tempo by the pianist)

• https://www.youtube.com/watch?v=zsROX7pQdZM (walk and stop (to clap) when the music stops; continue to walk when themusic starts back)

https://www.youtube.com/watch?v=wEyyeoc_t-U https://www.youtube.com/watch?v=RXB67nHnty0

https://www.youtube.com/watch?v=UWif5Xss_Ec

https://www.youtube.com/watch?v=usJ8_Lq-lDY

https://www.youtube.com/watch?v=zsROX7pQdZM

https://www.youtube.com/watch?v=wEyyeoc_t-U

https://www.youtube.com/watch?v=RXB67nHnty0

















• 1) use drum to beat – student moves according to the rhythmthey heard

• 2) play on the piano quaver (do re mi fa so fa mi re do ) LH – 1 note RH – chords (root position)

• 3) use BALL (work in pair) throw the ball to your partner andmake sound with MOVEMENTS n SOUNDS

• 4) exploring things using music and do movements with thethings given (hula hoops, balls, skipping rope, scarfs and etc)

Documents

Dalcroze PDF