Dalam beberapa cara kehidupan Emile Jaques - Dalcroze adalah paradoks a: dia dilahirkan di Vienna, tetapi dikaitkan dengan

Geneva, dan dengan populariti beliau yang terbesar dalam hidupnya timbul daripada kerja-kerja dalam Hellerau , Jerman; sebagai seorang lelaki muda dia bekerja sebagai pelakon dan dilatih di Francaise Comdie , tetapi dia wajar dikenali sebagai komposer dan guru muzik ; dan nama yang mana beliau dikenali bukan nama yang diberikan kepadanya ketika lahir. Dalcroze dilahirkan Emile Jaques Henri di Vienna pada 6 Julai 1865. Bapanya adalah seorang lelaki perniagaan kelas pertengahan. Ibu Emile itu , Julie Jaques ; telah menjadi guru di sebuah sekolah Pestalozzi. Kerja ibunya sebagai seorang guru memberi pengaruh yang kuat pada awal idea Emile tentang pengajaran; pengajaran sendiri sudah tentu bersetuju dengan kaedah Pestalozzi . Johann Heinrich Pestalozzi (1746 - 1827) adalah seorang inovator pendidikan di Switzerland lewat kelapan belas dan awal abad kesembilan belas. Pestalozzi percaya pendidikan kanakkanak hendaklah terdiri daripada menyediakan kanak-kanak dengan peluang-peluang untuk membuat penemuan. ( Terutamanya Dalcroze percaya pengalaman yang harus mendahului teori dan kesimpulan. ) Walaupun Pestalozzi bukan seorang pemuzik (orang-orang yang rapat dengan beliau menulis bahawa beliau tidak dapat hum juga), beliau menggesa bahawa sekolah-sekolah mempunyai ukuran kuat pendidikan muzik untuk meningkatkan umum suasana sekolah. Pengenalan Emile untuk muzik bermula dengan pelajaran piano pada usia enam pada tahun 1871. Keluarga berpindah ke Geneva , Switzerland ketika dia sepuluh. Di sana, beliau menunjukkan minat dalam mengarang juga, menulis opera pertama beliau, "La Soubrette ," pada usia enam belas pada tahun 1881. Dalcroze memiliki akal yang aktif lucu sepanjang hidupnya. Dia menyokong penggunaan kegembiraan sebagai alat pedagogi. Sebagai lelaki , beliau menunjukkan bakat beliau untuk jenaka dan pranks . A sarkas dan raja Oriental kebetulan melawat Geneva pada masa yang sama apabila Emile masih remaja beliau. Emile tidak mempunyai wang untuk sarkas. Beliau memperolehi hotel bergerak dan menulis nota untuk sarkas. Mereka mengharapkan esok pihak imperialis. Hari Emile depan dan kawan-kawannya muncul dalam jubah spontan dan pakaian bercakap babi Latin. Kanak-kanak lelaki telah dibawa ke tempat duduk terbaik di dalam rumah. Sepanjang mudanya, Emile dipaparkan minat aktif dalam teater. Di sekolah, Emile menyertai Belles - identiti , masyarakat pelajar. Beliau kerap muncul sebagai pelakon dalam teater kelab itu. Sebagai sembilan belas tahun pada musim panas tahun 1884, Emile menyertai sebuah syarikat saham tur dikendalikan oleh sepupunya. Beliau kemudian pergi ke Paris untuk belajar bertindak di Comdie Francaise dengan cerita sedih DenisStanislaws Talbot , pelawak Francois St Germain , dan Francois Jules Edmond Got . Juga semasa di Paris, Emile menghadiri ceramah-ceramah yang diberikan oleh Dalsarte (yang , kebetulan , seolah-olah telah menjadi bapa saudara Georges Bizet ). Dalam tempoh ini, Emile juga melanjutkan pelajaran muzik dengan komposer dan guru Mathis Lussy . Lussy telah dikaji dan ditulis dengan panjang lebar mengenai subjek irama muzik. Banyak konsep yang diajar oleh Dalcroze mendapati asas mereka dalam kerja-kerja Lussy .

A SHORT BIOGRAPHY OF EMILE-JACQUE DELCROZE

In some ways the life of Emile Jaques-Dalcroze was a paradox: he was born in Vienna, but is associated with Geneva, and his greatest popularity in his lifetime arose from his work in Hellerau, Germany; as a young man he worked as an actor and trained at the Comedie Francaise, but he is justifiably known as a composer and music teacher; and the name by which he is known was not the name given him at birth. Dalcroze was born Emile Henri Jaques in Vienna on 6 July 1865. His father was a middle-class business man. Emiles mother, Julie Jaques; had been a teacher in a Pestalozzi school. His mothers work as a teacher provided a strong early influence on Emiles ideas about teaching; his own teaching certainly agreed with Pestalozzis methods. Johann Heinrich Pestalozzi (1746 1827) was a Swiss educational innovator in the late eighteenth and early nineteenth centuries. Pestalozzi believed a childs education should consist of providing the child with opportunities to make discoveries. (Dalcroze particularly believed the experience should precede theory and conclusions.) Although Pestalozzi was not a musician (those close to him wrote that he couldnt even hum well), he urged that schools feature a strong measure of music education to improve the general atmosphere of the school. Emiles introduction to music commenced with piano lessons at age six in 1871. The family moved to Geneva, Switzerland when he was ten. There he showed interest in composing as well, writing his first opera, "La Soubrette," at age sixteen in 1881. Dalcroze possessed an active sense of humor throughout his life. He espoused the use of joy as a pedagogical tool. As a boy, he showed his flair for jokes and pranks. A circus and an Oriental monarch coincidentally visited Geneva at the same time when Emile was in his teens. Emile had no money for the circus. He obtained hotel stationary and wrote a note to the circus. They were to expect an imperial party tomorrow. The next day Emile and his friends appeared in improvised robes and costumes speaking pig Latin. The boys were ushered to the best seats in the house. Throughout his youth, Emile displayed an active interest in theatre. In school, Emile joined the Belles-Lettres, a student society. He regularly appeared as an actor in the clubs plays. As a nineteen-year-old in the summer of 1884, Emile joined a touring stock company run by his cousin. He then traveled to Paris to study acting at the Comedie Francaise with tragedian Denis-Stanislaws Talbot, comedian Francois St. Germain, and Francois Jules Edmond Got. Also while in Paris, Emile attended lectures given by Dalsarte (whom, incidentally, seems to have been the uncle of Georges Bizet). During this period, Emile also pursued music studies with composer and teacher Mathis Lussy. Lussy had studied and written at length on the subject of musical rhythm. Many of the concepts taught by Dalcroze found their basis in the work of Lussy.

DALCROZE BIOGRAPHY -- Pt 2
The next major period of Emiles life was spent in Algiers, working as assistant conductor and chorus master at a theatre. Kunman suggests that Emile was "very interested" in the native music and "notated much Arabian music." Spector also quotes Dalcroze from Souveniers, notes et critiques writing about the influence of Arabian drumming on the development of eurhythmics. Spector, though, also suggests that Emile did not make a serious study of Arabian rhythms. Emile Henri Jaques also became known as Emile Jaques-Dalcroze during this period from 1886 to 1888. The reasons for the name change have been variously reported in different sources. Nevertheless, Emile began to be known publicly as Dalcroze even though friends and students affectionately called him "Monsieur Jaques" throughout his life. In 1892 Dalcroze returned to Geneva and began work as Professor of Harmony at the Geneva Conservatory. Dalcroze found the students ill-prepared for musical expression despite a level of technical competence. This can be compared to a situation in which people have a vocabulary of language and might be able to read it, but can not express themselves fully. Dalcroze began to develop a series of exercises to mitigate this lack of musicality in his students. Supposedly Dalcroze experienced a moment of "Eureka!" in discovering the possibilities of using whole body movement for music education. The story of this moment of discovery has been reported in different versions.

Clarke relates the most common version of the story. In this version, Dalcroze was perplexed with a particular student. The student seemed to possess a good ear and sense of phrasing, but was unable to play evenly in tempo. Luckily, Dalcroze happened to observe this same student walking in the street with an even gait, giving no evidence of the alternately halting and hurrying movement of the students piano playing. Dalcroze discovered the student moved easily, relying upon the swing of his body. In another version, Virginia Mead reports that, "One day, while staring out the window and pondering his ideas, he was struck by the natural flow and animated movement of a student walking across campus." In his biography of Dalcroze, Spector reports the story of the moment of of discovery as told him by Paul Boepple, an early Dalcroze disciple and eurhythmics teacher. According to this version Dalcroze met the problematic student at the train (local transit) station on his way to the Conservatory. It was raining. The two men trotted toward the school. Dalcroze noticed the student matched his even gait. Dalcroze varied his gait to test if the student would automatically synchronize movement with him. The student unconsciously matched each of his teachers tempo changes. According to Spector, Dalcroze thus conceived the beneficial use of whole body movement to teach musical rhythm.

These stories may be apocryphal in nature. Nevertheless, there are salient features common to each version. Dalcroze did experience dissatisfaction with the inability of his harmony students to hear in their minds what they composed. He also chafed at technical displays that contained little content. There is evidence that Dalcroze began making detailed studies of human movement. Economy of motion held particular interest for Dalcroze. He chiefly endeavored to understand the minimum work required to shift from one pose to another. Dalcroze began to dispense with desks in his classes and required his students to move. In one solfege class, he asked his students to move their desks away and to stand next to the piano and move as they sang. At the end of the class Dalcroze reportedly commented, "There is something to that." (The development of adapting kinesthesia to solfege raised no questions for the Conservatorys administration at this early point.) Dalcroze began experimenting with fuller rhythmic training. He discovered he needed other facilities. Therefore he requested a bigger room with full mirrors and a changing room to allow students to change into their exercise costumes and to shower after class. Dalcroze argued that clothing influences movement, and that a man in a loose jersey with bare feet will move with greater ease than a man in tight clothes and narrow boots with high heels. Finally, the Conservatory administration found the removal of shoes and restrictive clothing shocking. (A quote typical of the age: "Surely no one would argue against these necessary articles of dress merely on the grounds of inconvenience to the wearer.") The administration condemned what they called "monkeyshines." Dalcroze mocked this attitude and wrote, "Simply that pure-minded people do not harbour impure thoughts, and that if anyone is incited to evil thoughts by the sight of a naked leg, it is not the leg that must be blamed but rather his own mind, so ready to offer hospitality to unwholesome mental associations." Consequently Dalcroze separated from the Conservatory and started his own school.

DALCROZE BIOGRAPHY Pt.3 and BIBLIOGRAPHY

Dalcroze had started to present publicly his exercises locally in a limited form as early as 1903. As he developed his method, Dalcroze traveled with his students to different locations and gave fuller demonstrations of his work. These demonstrations always included some of the women students. Dalcroze presented a major exhibition with his students in Solothurn in 1905. Through these public demonstrations, Dalcroze attracted the attention of German magnate Wolf Dohrn. Wealthy industrialists, Wolf (b. 1873) and his brother Harald (b. 1880) were the children of respected marine scientist Anton Dohrn. The Dohrns wanted to establish a new city outside the environs of Dresden and asked Dalcroze to develop a program and teach in the news citys

school. They began negotiating with Dalcroze in 1909. The brothers offered an attractive 10 year contract. The establishment of Hellerau had been inspired by the Garden City movement initiated by Ebenezer Howards influential book. Howard first published his treatise on city planning in 1898 as Tomorrow: A Peaceful Path to Real Reform. The book was re-issued in 1902 with slight revision as Garden Cities of Tomorrow. The book describes the establishment of a proposed "Garden City" outside a "Central City." The "Garden City" would combine the best elements of town and country life. Its salient features would include the concept of maximum population. That is, if the population of Garden City rose to a planned target number, a second Garden City would be founded rather than expand the original. The rent for the land (owned in common by the residents of the city) would go into a community fund. Howard also outlines the design of the city and discusses its financial arrangement in some detail. This book led to the establishment of Lechworth in England as well as several communities in the United States. The Dohrns developed the Hellerau community around a furniture factory. Dalcroze agreed to their offer to move his work to Hellerau, consulted with fellow Swiss innovator Adolphe Appia, and provided the Dohrns with plans for the theatre in the new school. Dalcroze started his first term at Hellerau with 115 students in attendance in makeshift classrooms in Dresden. The students followed a schedule that started the morning with a series of three 50 minutes sessions with ten-minute breaks. The sessions would cover rhythmic movement, solfege and piano improvisation. The afternoon included sessions devoted to individual instruction, choral rehearsals and ensemble rehearsals. The evenings might included a trip to the opera, concert, or recital in Dresden or a recital by the students or a lecture. The morning sessions were seminal because, according to one student, "Each morning a single problem was approached from three different points of attack in the three classes." The period in Hellerau marked Dalcrozes close collaboration with Adolphe Appia and Dalcrozes greatest fame as a pedagogue. As early as 1899, Appia had called for "musical gymnastics" to train professional actors. Therefore, when Appia witnessed a eurhythmics demonstration in 1906, he quickly contacted Dalcroze by letter and started what came to be a productive friendship. Appia believed the elements of dramatic art are "fixed." The poetry or "music" of drama is fixed in time. The painting/sculpture/architecture of the stage setting is fixed in space. Appia sought to link these two elements. Appia posed the question, "Do time and space possess some reconciling element?" His answer was, "Movement mobility -- is the determining and conciliating principle . . . in dramatic art." That is to say, in movement, various lengths or timings of sounds are realized in space. For special summer activity, Dalcroze and Appia collaborated on the production of opera selections as part of festivals arranged by the Dohrns for the workers and to display the town to guests. In 1912 the student presented the second act of Glucks Orfeo et Euridice and Dalcrozes own version of Echo et Narcisse. The

next summer, in 1913, the students presented a complete performance of Orfeo. The festival and the performance attracted thousands of people to Hellerau. Numerous luminaries in music and theatre came to see the performance. In particular, Hellerau attracted the attention of Prince Sergei Wolkonsky, Superintendent of Russias Imperial theatres and Susan Canfield, a music teacher from the U.S.A. (These two visitors in particular were influential in bringing eurhythmics to their respective countries.) The artistic promise of Hellerau quickly faded in 1914. Wolf Dohrn, the elder and leader of the brothers, died in a skiing accident in February of 1914. Also in the spring of 1914, Dalcroze returned to Geneva with Annie Beck and other senior students to work on a pageant, Fete de Juin, scheduled for the summer in Switzerland. By late June Archduke Ferdinand had been shot and World War I began. Dalcroze and Harald Dohrn endeavored for a time to restore the Hellerau school, but the attempts never came to fruition. Dalcroze never returned to Hellerau. Dalcroze worked largely in Geneva after leaving Hellearu. Over the years, Dalcroze devoted his time and energy to the development of his teaching methods. Dalcrozes work as a teacher and composer also earned him a number of awards and honors. In 1925 Dalcroze became the 70th recipient of the bourgeois dhonneur of Geneva, an important civic award, on 21 November 1925. In 1929 the government of France presented Dalcroze the title of "Officer of Public Instruction" and the medal of the Legion of Honor. The city of Geneva also awarded Dalcroze with a cash prize in 1947, honoring his outstanding work in music. In that same year, Dalcroze gained an honorary Ph.D. from the university of Clermont-Ferrand in France. Dalcroze died in Geneva early in the morning on 1 July 1950, a few days before his 85th birthday. BIBLIOGRAPHY Abramson, Robert, Lois Choksky, Avon Gillsepie, and David Woods.Teaching Music in the Twentieth Century. Englewood Cliffs, NJ: Prentice-Hall, 1986. Appia, Adolphe. The Work of Living Art. Coral Gables, FL: U of Miami Press, 1962. Beachum, Richard C. Adolphe Appia: Theatre Artist. Cambridge: Cambridge U Press, 1987. Clarke, Urana. "Dalcroze: Rhythm in a Chain Reaction." Musical America. 70.13 (1950): 25. Harvey, John. Ed. The Eurhythmics of Jaques-Dalcroze. London: Constable& Co., 1920. Hazen, Charles. Fifty Years of Europe: 1870 1919. New York: Henry Holt, 1919. Jaques-Dalcroze, Emile. Eurhythmics: Art and Education. Salem, N.H.: Ayer Co., 1930. Kunmann, Christine. "The Pedagogy of Emile Jaques-Dalcroze." Thesis. U of Michigan, 1968.

Mead, Virginia Hodge. Dalcroze Eurhythmics in Todays Classroom. New York: Schott Music, 1994. Meakin, Budgett. Model Factories and Villages: Ideal Conditions of Labour and Housing. London T. Fisher Unwin, 1905. Odom, Selma Landen. "Bildunsanstalt Jaques-Dalcroze: Portrait of an Institution." Thesis. Tufts U, 1967. Rainbow, Bernarr. Music in Educational Thought and Practice: A Survey from 800 BC. Aberystwyth, Wales: Boethius Press, 1989. Spector, Irwin. Rhythm and Life: the Work of Emile Jaques-Dalcroze. Stuyvesant, NY: Pendragon Press, 1990.

HOME