CEA 560 Course Syllabus

Course Description:
A comprehensive look at the work of Emile Jacques-Dalcroze, who proposed that music does not live in the ear, mind and fingers alone, but involves the whole body and spirit. The course is organized around three areas of Dalcroze study:
a) Eurhythmics - combining physical response to music with techniques of analysis
b) Ear-training - engaging the ear, eye and voice in hearing, identifying and producing the tonal elements of music, and
c) Improvisation - offering the opportunity to experiment at the piano with rhythm, melody and form.

In class, students experience music through games and exercises that allow them to use physical movement as they learn the basics of pitch, rhythm and notation. By developing their musicianship - the ability to hear, think, read and feel music more deeply - they are able to approach their instruments with new understanding and skill. The idea that students experience music physically before they wrestle with symbols and theoretical abstraction is at the heart of Dalcroze work.

A person skilled in music-making has been given a key which can unlock door after door throughout a lifetime; experiences are available to that person which would never have been possible had they not had musical training. These experiences can include such things as getting together with friends to play chamber music, singing in a church choir, playing in a community orchestra, fiddling in a country band, participating in a theater production, playing in a rock or jazz band, playing at a best friend’s wedding…the list is endless. My goal as a private music instructor is to give students of all ages and abilities the tools they need to become active practitioners and listeners of music. I want them to experience the joy and satisfaction of being part of a musical community - not just while they are students, but for the rest of their lives.

My Curriculum

The training I offer includes ear-training, sight-reading, improvisation, and a physical approach to the violin which is relaxed and efficient. In addition to work with the violin, my lessons include keyboard harmony and rhythmic exercises using percussion instruments. I tailor each student’s curriculum to his or her individual needs and interests, rather than adhering to a rigid curriculum. The music we study is not limited to the classical repertory. Rather, I encourage students to listen to, learn from, and play a wide variety of musical styles, so that ultimately they can find their own, distinctive musical voice.

What I Expect from My Students

The pleasures and benefits that music brings do require hard work and commitment. I expect the following of my students:
1. To be interested in becoming a good musician as well as an accomplished player.
2. To come to lessons with a positive attitude, be willing to work hard and to try out new ideas.
3. To practice 6 times a week. Beginners are expected to practice 20 to 30 minutes per practice session (it is very helpful if an adult supervises the practice). Intermediate and advanced students should practice a minimum of 45 minutes to an hour per practice session
4. To keep your instrument in good condition and to keep your fingernails short — if nails are too long, I will ask you to clip them at the lesson.
5. To participate in master classes and group ensembles.
6. To attend lessons regularly.

NYSSMA

Each year the New York State School Music Association offers an opportunity for music students in the public schools to have their performance assessed by a judge. The repertoire is divided into six categories from Level I (easy) to Level VI (extremely difficult). While I support students who want to prepare for this audition, I do not subscribe to the idea of playing repertoire beyond one’s ability. If students choose to participate in NYSSMA, I ask that I be given the authority to select the repertoire and the appropriate level.