Publications
Publisher: New York, New York University, 1956
The instrumental music / Robert White ; edited by Irwin Spector
Publisher: Madison [Wis.] A-R Editions, c1972
Notes: Includes bibliographical references Contains 14 works for lute (in tablature and transcription), 6 for 4-6 viols, and Ut re mi fa sol la, for organ
Rhythm and Life: The Work of Emile Jaques-Dalcroze
Pendragon Press:
Spector, Irwin. (1990). Rhythm and Life: The Work of Emile Jaques-Dalcroze, Dance and Music Series, No. 3. Stuyvesant, NY: Pendragon Press. (ISBN 0945193009) 411 pages.
As far as literature in English is concerned, this new addition to the DANCE AND MUSIC SERIES is the only book of its kind. It offers a biography of Jaques-Dalcroze, a survey of his principal compositions, and explanation and demonstration of his pedagogical works, his sensational ear training method, especially the landmark project rhythmique (eurhythmics: physical responses to rhythm and other musical elements). The author discusses musical life in Switzerland, particularly the inimitable festivals, and shows how Jaques-Dalcroze’s ideas served as a springboard in the development of modern dance and theatre, and in general education and therapy for the handicapped.
Book Review
Emile Jaques-Dalcroze was born of French parentage in Vienna (1885) and died in Geneva, Switzerland (1950). Aside from is oft-cited influence on modern dance, he is most credited with influencing American music educators to consider and incorporate rhythmic movement in teaching their subject to children. This has been particularly manifested in general music classes, but with much broader and flexible applications then envisioned by Dalcroze himself.
In its original guise, we generally consider “eurhythmics” to mean a systematized and highly disciplined approach to rhythmic bodily responses to musical stimuli. In fact, to considerable extent, Dalcroze additionally included solfeggio training and improvisation to supplement pure physical rhythmic response.
As was the time-honored European custom,. Fixed do rather than moveable do solfeggio constituted an integral part of the training. According to author Irwin Spector, “for the most part it is conceded that European training in solfege is superior to American training in that European students generally seem to be better prepared to inwardly hear harmonic and melodic passages as well as to express these passages outwardly, vocally” (pp. 92-93). It will be remembered that Zoltan Kodaly, through his work at the liszt Academy in Hungary , was one of the first Europeans to adamantly endorse moveable do, and through his position as Deputy Director, sought to impose his beliefs concerning this matter, among other things, on other faculty members. Undoubtedly, this stood at the heart of several controversies surrounding his dismissal from the position (see Kite, 1985).
The present volume is a superb biography, written in authoritative, yet interesting style. The documentation is ample, sampling many primary sources, letters, interview, and anecdotal observations. Several of Dalcroze’ original compositions are included along with numerous descriptions of his classroom exercises pertaining both to movement and solfeggio.
The author carefully takes us through Dalcroze’ career, covering his early years and schooling. In 1892, he was given a position as a theory instructor at the Conservatory in Geneva, and it was here that he began to formulate his rhythmic system. In 1910, he resigned this position and established his own school at Hellerau, near Dresden. This afforded him the opportunity to explore more fully his theories and to train teachers appropriately. As a result, his ideas were carried quickly across Europe to Russian, and even to the United States.
As World War I approached, the school at Hellerau was closed. Later, however, Dalcroze founded another school at Geneva. Other centers of his pedagogy took him to teach in Paris, Vienna, and London. In his twilight years, Dalcroze lived in Geneva.
As a composer, Dalcroze’ works are numerous. Some of them have commanded impressive performances. In many ways, much of his music seems to be influenced heavily by Swiss folk music and late 19th-century idioms. In the present biography, the chapter dealing with personal commentaries (XVI) should be most interesting to music educators. The author presents hers an objective array of statements, some that express strong reservations about Dalcroze; work and some that are quite laudatory. Appendix A should also be of interest, as it is an article by Marie Adama van Scheltema, entitle “Jaques-Dalcroze as Music Educator.”
This work is an excellent resource for all music educators, particularly those who are interested in applications of Dalcroze’’ methodology to general music. It is also an outstanding example of biographical research and may serve as a model for others who delve into this field.