The system known as eurhythmics focuses on developing one¡¦s rhythmic potential through the use of his or her own body. Through experiences with natural movement, eurhythmics offers opportunities for developing keener hearing, concentration, mental alertness to musical elements, rhythmic control, coordination, flexibility, recognition and understanding of musical symbols, and appreciation of expressive qualities of music. There have been some choral educators, conductors and directors engaged in training choirs by eurhythmics. Taking Taiwan¡¦s Protestant Church Choirs as a research sample, this study analyzes the application of eurhythmics concepts during rehearsal. This result could be a guideline for those who direct or train church choirs. There are five chapters in this thesis. Chapter one contains the ideal, worded as a hypothesis, and poses questions to be pursued in this study. Chapter two briefly introduces the performing style, levels of choir members¡¦ education, and directors¡¦ training in Protestant Church Choirs in Taiwan. It then discusses the possibility of rehearsing choirs by eurhythmics. Chapter three cites available research material and commences on its implications for the topic. Chapter four plays the results in tables and then discusses questions that remain to be solved. Chapter five draws conclusions briefly, then make reflections and suggestions.

Over a century ago, Émile Jaques-Dalcroze (1865-1950) began experimenting with a pedagogical approach that would give students access to their personal musical voice and a system of technique to express that voice with ease and sensitivity. Music education had lost sight of certain key qualities of exceptional musicianship; qualities such as flow, nuance, imagination, and individuality, so valued in expressive performance, were absent in music pedagogy. According to Jaques-Dalcroze, the antidote to musical arrhythmy (a lack of musical ease and expressivity) lay in the integrated use of the whole body in both musical perception and performance, a coordination he termed eurhythmy. The purpose of this study is to investigate the applications of Dalcroze Eurhythmics to the choral context, including the ways in which the Dalcroze approach shapes the philosophical, pedagogical and musical outcomes of choral pedagogy and practice. More specifically, how do these two areas interact in relationship to the following topics: (1) conductor, chorister and choir as instrument, (2) conductor and chorister score study, (3) conductor and chorister gesture, and (4) choral pedagogy and rehearsal techniques? The original writings of Émile Jaques-Dalcroze provide a framework for the discussion, while interviews with two groups, Dalcroze master-teachers with choral conducting training and/or experience, and Dalcroze-trained choral conductors illustrate the specific applications of the choral context. Study participants reported the use of the Dalcroze approach for three main purposes in the choral context: (a) to develop choral skills, including vocal skills, aural skills, kinesthetic skills, ensemble skills and music literacy skills; (b) to prepare the whole body for accurate and expressive performance of choral repertoire (conducting and singing); and (c) to develop non-musical outcomes that support choral conducting and singing, including mental acuity, creativity, a contextualized view of self and others, self-confidence and risk-taking, and enjoyment in music making.

Over a century ago, Émile Jaques-Dalcroze (1865-1950) began experimenting with a pedagogical approach that would give students access to their personal musical voice and a system of technique to express that voice with ease and sensitivity. Music education had lost sight of certain key qualities of exceptional musicianship; qualities such as flow, nuance, imagination, and individuality, so valued in expressive performance, were absent in music pedagogy. According to Jaques-Dalcroze, the antidote to musical arrhythmy (a lack of musical ease and expressivity) lay in the integrated use of the whole body in both musical perception and performance, a coordination he termed eurhythmy. The purpose of this study is to investigate the applications of Dalcroze Eurhythmics to the choral context, including the ways in which the Dalcroze approach shapes the philosophical, pedagogical and musical outcomes of choral pedagogy and practice. More specifically, how do these two areas interact in relationship to the following topics: (1) conductor, chorister and choir as instrument, (2) conductor and chorister score study, (3) conductor and chorister gesture, and (4) choral pedagogy and rehearsal techniques? The original writings of Émile Jaques-Dalcroze provide a framework for the discussion, while interviews with two groups, Dalcroze master-teachers with choral conducting training and/or experience, and Dalcroze-trained choral conductors illustrate the specific applications of the choral context. Study participants reported the use of the Dalcroze approach for three main purposes in the choral context: (a) to develop choral skills, including vocal skills, aural skills, kinesthetic skills, ensemble skills and music literacy skills; (b) to prepare the whole body for accurate and expressive performance of choral repertoire (conducting and singing); and (c) to develop non-musical outcomes that support choral conducting and singing, including mental acuity, creativity, a contextualized view of self and others, self-confidence and risk-taking, and enjoyment in music making.

The system of music education devised by Emile Jacques-Dalcroze is based on an interrelated programme which includes solfege, rhythmic movement, plastique and improvisation. Although Dalcroze wrote numerous articles discussing his methods, he failed to provide a comprehensive account of his approach to the music-learning experience. Consequently this thesis aims, by a critical survey and analysis of Dalcroze’s writings, to provide an insight into the meanings and objectives of Dalcroze Eurhythmics. In addition, this investigation will seek to reveal that Dalcroze’s teaching received direction both from a multitude of influences and his extraordinary pre-occupation with rhythm. As a music teacher, Dalcroze had endeavoured to heighten the rhythmic sensitivity of his pupils by the use of kinesthetic exercises. As an humanitarian, Dalcroze’s research into rhythmic manifestations led him to propose rhythm as a dominating force effecting the future welfare of humankind. An understanding of this theory, despite its grandiose tone, is especially relevant to achieving a fuller comprehension of Dalcroze’s musical studies.

Frank Martin's (1890-1974) 8 Préludes pour le piano has been studied and analyzed by many researchers, yet the influence of one of Martin's most important educational experiences, Dalcroze Eurhythmics, has not been discussed in connection to this work. The purpose of this research is to investigate the influences of Émile Jaques-Dalcroze's (1865-1950) educational method, eurhythmics, on Martin’s compositional writing, specifically the 8 Préludes pour le piano. This research demonstrates the connection between Martin and Dalcroze through several key observations: 1) their close collegial relationship; 2) the influences of Dalcroze Eurhythmics in Martin's approach to rhythm; and 3) Martin's writings on rhythm as connected to Dalcroze Eurhythmics. The examination of Frank Martin’s major piano work, 8 Préludes pour le piano, reveals a strong connection between these composers and their fascination with the expressive power of rhythm. In this paper, I examine the eurhythmics elements evident in Martin’s 8 Préludes pour le piano: irregular measures, unequal beats, polyrhythm, rhythmic counterpoint and canon. Additionally, Dalcroze Eurhythmics-based activities for learning Martin's 8 Préludes pour le piano are offered with the intent of enriching the pianist's experiences in learning and performing this piece and demonstrating the practical application of the method.

No description available.

This dissertation investigated the meanings students from beginner jazz ensembles ascribe to learning jazz improvisation through Dalcroze-inspired activities. Over the course of ten weeks, students from three respective beginner jazz ensembles were exposed to Dalcroze-inspired activities as the medium for learning to improvise. The sessions were held on a weekly basis, facilitated by the researcher. Hermeneutic phenomenology guided the research procedures. In-depth interviews, personal reflections, participant reflection essays as well as video recordings were the methods of data collection. Through the use of Atlas.ti 7, the data were organized and analysed by means of coding and categorisation, which led to the identification of five themes. The five themes that emerged from the data analysis were: feeling the music in my body, supporting development as a jazz musician, building character, building relationships, and stimulating and motivating learning. This study provides an understanding of the connection between jazz improvisation and Dalcroze Eurhythmics as well as how students experience learning jazz improvisation through Dalcrozeinspired activities. Through this understanding this study proposes a more holistic approach to jazz improvisation teaching that can inform further research and application of Dalcroze Eurhythmics in jazz pedagogy. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

This dissertation investigated the meanings students from beginner jazz ensembles ascribe to learning jazz improvisation through Dalcroze-inspired activities. Over the course of ten weeks, students from three respective beginner jazz ensembles were exposed to Dalcroze-inspired activities as the medium for learning to improvise. The sessions were held on a weekly basis, facilitated by the researcher. Hermeneutic phenomenology guided the research procedures. In-depth interviews, personal reflections, participant reflection essays as well as video recordings were the methods of data collection. Through the use of Atlas.ti 7, the data were organized and analysed by means of coding and categorisation, which led to the identification of five themes. The five themes that emerged from the data analysis were: feeling the music in my body, supporting development as a jazz musician, building character, building relationships, and stimulating and motivating learning. This study provides an understanding of the connection between jazz improvisation and Dalcroze Eurhythmics as well as how students experience learning jazz improvisation through Dalcrozeinspired activities. Through this understanding this study proposes a more holistic approach to jazz improvisation teaching that can inform further research and application of Dalcroze Eurhythmics in jazz pedagogy. / MMus (Musicology), North-West University, Potchefstroom Campus, 2015

Syftet med det här arbetet är att undersöka förstaklasslärares uppfattningar om hur motorisk träning hanteras i skolan och vad träningen kan leda till. Av intresse är också att undersöka vilken roll musiken kan spela i den motoriska träningen. Arbetet baseras på en kvalitativ undersökning i form av intervjuer med fem verksamma pedagoger inom grundskolans verksamhet. I bakgrundslitteraturen beskrivs den motoriska utvecklingen, problem som kan uppstå vid brister i motoriken, forskning om motorisk träning samt musikens roll vid motorisk träning. Den valda litteraturen visar på en splittrad syn när det gäller motorikträningens betydelse för barns lärande. Resultaten av intervjuundersökningen visar däremot att pedagogerna ser kopplingar mellan motorik och lärande, men också att det hela är mycket komplext. Kopplingen mellan motorik och lärande uppfattas i huvudsak gå via social utveckling, hjärnans utveckling samt leken med mera. Arbetet belyser att det finns likheter i pedagogernas uppfattningar, men olikheter i hur de arbetar. Den motoriska träningen kan se ut på olika sätt, men stor vikt läggs på lekens betydelse. / The purpose of this work is to investigate the class teacher’s perception of how motor training is carried out in school, and what the training can lead to. The aim is also to examine what role music can play in motor training. The work is based on a qualitative study in the form of interviews with five teachers active at the primary school stage. In the background literature, motor development is described, problems that can arise from lack of motor skills, research in motor training and the role of music in training motor skills. The selected literature shows a divided view about the significance of motor training in a child’s learning process. The results of the interview analysis show however, that the teachers see connections between motor function and learning, but also that this is a very complex matter. The connection between motor function and learning can be seen in social development, development of the brain, playing, and more. The work illustrates that there are similarities in the opinions of teachers, but differences in the way they work. The motor training can be done in different ways, but great importance is attached to playing.

Esta dissertação trata da Rítmica como Princípio Formativo, um dos desdobramentos das formulações de Émile Jaques-Dalcroze (1865-1950), no trabalho pedagógico e profissional com voz, música e encenação. Com seu axioma música é movimento, e movimento é música, Dalcroze ressalta a originalidade da Rítmica em promover uma qualidade imanente à humanidade a indissociabilidade do movimento musical e corporal como forma ancestral de expressão humana. Ponderando questões de ordem ontológica do fazer teatral, num primeiro momento, traço a trajetória da Rítmica, analisando as potencialidades de seu diálogo com outras áreas, considerando como ela transforma e é transformada nesta interação. Em seguida, analiso a operacionalização de conteúdos e técnicas baseadas na pesquisa do indivíduo sobre si pressuposto de importantes encenadores; e, finalmente, descrevo os resultados cênicos obtidos pelo emprego de conceitos e procedimentos com grupos envolvidos na formação, pesquisa e montagem teatral. / This research approaches Eurhythmics as Formative Principle, one of the developments of Émile Jacques Dalcrozeformulations on the pedagogical and professional work with voice, music and staging. Through his axiom music is movement, and movement is music, Dalcroze emphasizes the originality of Eurhythmics in promoting an immanent quality of mankind the indissociability of corporal and musical movement as an ancestral form of human expression. Taking into account ontological questions towards the theatrical making, I start with the reconstruction the Eurhythmicstrajectory, analyzing the potentialities of its dialogue with others areas, exposing how and when it transforms and is transformed by these interactions. Afterwards, I analyze the operativeness of its contents and strategies based on individual self-research presumption of great directors; and, finally, I descript the scenic results obtained by the use of concepts and proceedings with groups involved in theatrical formation, research and staging.