Dalcroze, the body, movement and musicality

Seitz, Jay A.

doi:10.1177/0305735605056155

Cited by 49 publications

(41 citation statements)

References 45 publications

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“…The principles that underpin Dalcroze (personal and aesthetic expression, awareness of self and others, flexibility and creativity, artistry, and self-mastery) transcend disciplinary boundaries and therefore the practice is associated with several fields . Principally, these are: health and wellbeing (see Section 4), music and music education (Juntunen 2002(Juntunen , 2004Mathieu 2010;Seitz 2005;Urista 2003), theatre (Lee 2003) and dance (Odom 1998).…”

Section: Dalcroze Eurhythmicsmentioning

confidence: 99%

‘Through music and into music’, through music and into well-being: Dalcroze eurhythmics as music therapy

Habron

2014

TDSA

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Abstract. There is a longstanding relationship between music therapy and Dalcroze Eurhythmics, an approach to music education that had its beginnings in the reform pedagogy movement of the European fin de siècle. Émile Jaques-Dalcroze (1865-1950, the founder of the approach, initially focused on educational aims, but was soon to include therapeutic ones as well. During the early twentieth century, Dalcroze teachers applied the approach to their work with disabled children. Such applications have continued to develop to the present day and have expanded to include palliative treatment in HIV/AIDS and gerontology.There are many theoretical and technical similarities between Dalcroze Eurhythmics and improvisational music therapy, including communication through musical improvisation and attunement in playing for movement. However, many of these similarities remain to be discussed in relation to the literatures on music therapy and communicative musicality. To address this gap, this article takes a transdisciplinary approach, making conceptual connections between the theory and practice of both Dalcroze Eurhythmics and music therapy. Implications for future training, practice and research in Dalcroze Eurhythmics are discussed.

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Section: Dalcroze Eurhythmicsmentioning

confidence: 99%

‘Through music and into music’, through music and into well-being: Dalcroze eurhythmics as music therapy

Habron

2014

TDSA

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“…Empirical support for this may be drawn from the research of Manganello (2011) andRoy-Dobeck (1995), who reports that movement stimulation can have a powerful effect on motor skills, and concludes that general movement training improves coordination skills, movement accuracy, movement synergy and posture holding. More specific evidence from the literature on movement training indicates that Dalcroze Eurhythmics aims to develop students' inner muscular sense and to coordinate the ear, nervous and muscular systems, and mind through whole body movement travelling through space (Anderson 2012;Bresler 2004;Caldwell 1995;Choksy et al 1986;Mead 1994;Seitz 1992Seitz , 2005K. Greenhead, personal communication with author, 2002).…”

Section: Discussion Of Findingsmentioning

confidence: 99%

“…Generally speaking, gestures have been formulated to assist in the development of good singing habits, such as encouraging children to drop the jaw, relax the tongue, round the lips and open the throat. Some gesture techniques have been designed for more advanced singing skills, such as developing a whole body sensation to overcome technical difficulties (Hibbard 1994;Liao 2002Liao , 2005Liao , 2008Liao and Davidson 2007;Seitz 1992Seitz , 2005Wis 1993). Gestures fall into two broad categories based on their function (Liao 2002(Liao , 2008:…”

Section: Gesture (Primarily Hand Signals)mentioning

confidence: 99%

“…Jaques-Dalcroze ([1921] 1967), perhaps one of the most recognised music educators of the twentieth century, believed that movement training was the most efficient way of coordinating the mind (thinking), body (kinaesthesia), ear (hearing) and emotion (feeling). This kind of teaching approach has been popularly adapted in music education through the method 'Eurhythmics', which facilitates the study and experience of musical elements through movement (Anderson 2012;Bresler 2004;Juntunen and Hyvönen 2004;Juntunen and Westerlund 2001;Mead 1994;Seitz 1992Seitz , 2005. Mead (1994) andK.…”

Section: Gesture (Primarily Hand Signals)mentioning

confidence: 99%

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Enhancing gesture quality in young singers

Liao

Davidson

2015

Music Education Research

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Studies have shown positive results for the use of gesture as a successful technique in aiding children's singing. The main purpose of this study was to examine the effects of movement training for children with regard to enhancing gesture quality. Thirty-six fifth-grade students participated in the empirical investigation. They were randomly assigned into control and experimental groups: (1) control group -children who sang with gesture but without movement training and (2) experimental groupchildren who sang with gesture and received Dalcrozian movement training. The gestures were designed for developing singing voice, whereas the movement activities were designed for developing effective gestures for singing. The instructional unit, consisting of two 40-minute sessions per week for 24 sessions, focused on gesture use in singing. Each individual child was tested a Chinese art song. Three experts were asked to judge the children's individual gesture and singing performances by using a nine-point scale. Results showed that the children who received movement training gained a significantly higher score on gesture quality. It was concluded that the combination of gesture and movement training could be a powerful teaching strategy in children's singing. ARTICLE HISTORY

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“…DE is associated with a number of different fields: health, well-being and music therapy (Frego 1995(Frego , 2009Habron 2014;Kressig et al 2005;Trombetti et al 2010), music and music education (Juntunen and Westerlund 2001;Juntunen 2002Juntunen , 2004Mathieu 2010;Seitz 2005), theatre (Callery 2001;Evans 2006;Lee 2003;Murray and Keefe 2007) and dance (Garafola 2005;Jordan 2000;Odom 1998Odom , 2006Odom , 2007.…”

Section: Historical Backgroundmentioning

confidence: 99%

The touch of sound: Dalcroze Eurhythmics as a somatic practice

Greenhead

Habron

2015

Journal of Dance &Amp; Somatic Practices

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Dalcroze Eurhythmics is a rich and multifaceted, living practice that has developed a wide range of applications and pedagogical approaches during more than a century of endeavour.Most researchers have situated this work within music education, dance and theatre history and therapy of various kinds. In this article we argue that it may also be considered a somatic practice owing to the ways in which movement, space, sensation, presence, touch and improvisation are central to the method. While recognizing that not all somatic practices include touch and improvisation, we focus on these aspects to explore the notion of the haptic nature of vision and sound, as they are manifest in the Dalcroze class. Drawing on practical examples of widespread practice within the Dalcroze community as well as personal experiences, we assert that the touch-like nature of sound not only makes contact with the body, inciting physical and emotional movement, but also develops awareness of self, others and environment due to the social nature of musical participation in general and of the rhythmics class in particular. I am seated at the piano at one end of a dance studio. I look at the group of students filling the space. They are dressed for a movement class. The fingers of my left hand trail over the piano keys, cool, black and white. They choose a low G. Quietly, slowly and smoothly they trace a line that rises up to the D, then G above. As they do so the group starts to move into the space, gathering speed as my phrase passes into my right hand, gaining momentum and intensity. The left hand joins the right and as music spreads out over the whole keyboard, the class spreads out in the room. Responding to my sound the students start to travel with the triplets I am now playing, each student moving in a unique and personal way: we are all 'tripletting' together. They look as if they are flying. As I shape my music towards a cadence they start to look for a partner. KeywordsAs I bring my music to rest they draw together and touch hands. I withdraw my fingers from the keys. Silence. They laugh. 3We do not hold hands but my hand rests firmly on hers.We run and glide, dip and turn.(This is the nearest I've ever been to feeling what a bird must feel.)The choir intones and the saxophone spins out its line.Other sensations quickly fade.My whole being is concentrated in that single point of contact: hand on hand.I want nothing; all is trust and movement.I am aware of the space of the entire room, Right up to the corners beyond my reach.It seems as if this point of contact -the ever-renewing beginning point of the phrasecan travel anywhere.As we turn I feel the sun on my face.As we soar forward my mouth drops open.

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Dalcroze, the body, movement and musicality

Cited by 49 publications

References 45 publications

‘Through music and into music’, through music and into well-being: Dalcroze eurhythmics as music therapy

‘Through music and into music’, through music and into well-being: Dalcroze eurhythmics as music therapy

Enhancing gesture quality in young singers

The touch of sound: Dalcroze Eurhythmics as a somatic practice

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