'some instinctive connection exists between rhythm, in all its varieties, and gesture'. Dalcroze

Emile Jaques-Dalcroze was born in Vienna in 1865. He began studying the piano at the age of 6 and when his family moved to Geneva in the Spetember of 1875 he was enrolled as a student at the local Conservatoire. After studying at the Conservatoire his musical education continued in Paris with Delibes and in Vienna with Bruckner. Dalcroze soon became known as a pianist, conductor and composer. In 1892 he was appointed Professor of Harmony at the Geneva Conservatoire. It was not long before Dalcroze noticed that his students did not think of performance as a means of self-expression. Their emphasis was on the aquisition of technique and the ability to play the notes. Dalcroze realised that the students needed to develop a physical grasp of rhythm and music and to connect the ear with the body and emotions. From initial simple movement exercises (in which he shocked students by asking them to remove shoes and stockings!) Dalcroze developed a whole vocabulary of techniques that took the students on a journey into music through movement.
There are three strands to the work:

• Eurhythmics. The physical embodiment of music
• Improvisation. The ability to apply and lead Dalcroze learning through the art of improvisation.
• Solfége. Ear training through pitch work. (In the UK, Kodaly Solfa is predominantly used)

Why move though?

The appreciation of musical rhythms always evokes some degree of motor image in the listner's ear as well as instinctive motor actions in the body. Muscular sensations eventually become associated with aural sensations, and these, so reinforced, impose greater significance on the business of appreciation and analysis (1919:170 Le Rhythm, La Musique at L'Education. Dalcroze) pan>

The Dalcroze approach to learning music through movement

• Dalcroze addresses musicianship training through an holistic approach engaging the whole body.
• Music is explored through full body movement away from the instrument.
• A process of musical 'discovery' is central to the approach. The actual process of teaching and learning is very important in the approach, with emphasis on practical and experiential learning.
• The student explores and develops an understanding of subjects such as pulse, tempo, phrase, articulation, anacruses, polyrhythm and nuance through guided excercises, games and improvisation.
• The purpose is to integrate fully the body, ear and understanding annnd develop co-ordination, control and precision.
• Excercises to refine and quicken responses are combined with free movement exploration to expand the range of expression.
• Musical concepts are explored as 'subjects' through improvisation and stimuli from other art forms.