Principles of Kinesthetic Learning in Music:

Dalcroze Eurhythmics and Bodily Knowing

SYLLABUS

Dorothea Cook, Instructor

Fall, 2006

Course Description:

An introduction to the principles and practices of the kinesthetic learning of music. The course focuses on the unique approach of Emile Jacques-Dalcroze, but considers his approach in light of recent developments, including research into “multiple intelligences”. The course is organized around three areas of Dalcroze principles: 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..

The course is designed for: music teachers; performers, including instrumentalists, singers, conductors; actors; dancers; and interested amateurs.

Course Objectives:

1. To understand the principles and practices of kinesthetic learning in music and how they can be applied in teaching music to children and adults.

2. To understand the progression and purpose of Dalcroze exercises in a children’s music class.

3. To become aware of the musical characteristics of children at various ages/stages and to appreciate what is developmentally appropriate for children whose classes you are observing.

4. To develop and integrate principles of kinesthetic learning into the teaching of music.

Course Readings:

Students are required to read the following texts and articles and be prepared to participate in class discussion based on these readings:

Alperson, R. (1995). “A Qualitative Study of Dalcroze Eurhythmics for Adults,” unpublished doctoral dissertation, New York University, Introduction, and Chapter III.

Aronoff, F.W. (1979). Mead, Dalcroze Eurhythmics in Today’s Music Classroom. Preface and Part One, pp. ix-37, and Conclusion, pp. 163-171, in Music and Young Children. New York: Turning Wheel Press.

Aronoff, F.W. (1988). “Reaching the Young Child Through Music: Howard Gardner’s Theory of Multiple Intelligences as Model,”pp. 3-5, Journal of Music Education, November 12.

Eisner, E. (9/21/90). “The Human Spirit: the Arts in Education,” transcription of talk given at U. of Northern Colorado.

Jaques-Dalcroze, E. (1921). Rhythm, Music and Education. London: Novello & Co., Chapters 1, 2, and 5.

Landis, B. & Carder, P. (1972). “The Approach of Emile Jaques-Dalcroze,” pp. 5-38; “Beth Landis: Realization in Movement as a Way of Comprehending Music,” pp. 178-190. In The Eclectic Curriculum

in American Music Education: Contributions of Dalcroze, Kodaly, and Orff . Washington, D.C.: Music Educators National Conference.

Mead, V. (1994). Dalcroze Eurhythmics in Today’s Music Classroom. New York: Schott Music.

Mursell, J.L. (1948). “Growth in Musical Insight,” pp. 192-216, in Education for Musical Growth. New York: Ginn & Co.

Shehan, P.K. (1987). “Movement: the Heart of Music,” pp. 25-27, in Music Educator’s Journal, November.

Attendance:

Attendance at each of our fifteen classes is required. Students are allowed 1 unexcused absence; more than two absences will result in a failing grade.

Observation of Children's Dalcroze Classes:

You will be required to observe three children's Dalcroze classes and to write up three observations. The children's classes, Music Basics for Kids, are part of the Stony Brook Pre-College Program and are held Saturday mornings in the Choral Room, Room #0113.

Grading Policy Defined as Follows:

A Excellent

A- Very Good

B+ Good

B Acceptable achievement

B- Below minimum for good academic standing

C+ Fair

C Poor

Methods used to evaluate student performance and achievement:

Weekly Assignments - 40%

Papers - 50%;

Due in class, Session 2—2-3 pages

Due in class, Session 6—2-3 pages

Due in class, Session 10—3-4 pages

Due in class, Session 13----3-5 pages

Class Participation – 10%

Session 1

The Body as a means of Learning: Introduction to Kinesthetic learning and to Dalcroze Eurhythmics

Introduction: personal history of Emile Jaques-Dalcroze; the genesis and development of Dalcroze Eurhythmics.

Explanation of term’s work and course requirements.

Distribution of curriculum materials.

Prepare for observation of first children’s classes. Formulate guidelines for observation and note-taking in children’s classes.

Discuss ways to assess and critique what we see and hear.

Required readings/assignments:

1. Read Dalcroze, Rhythm, Music and Education.Chapters I and II.

2. Read Alperson, Chapter I, “Introduction.”

3. Begin to keep a log, or personal journal, in which ideas and thoughts related

to the work are jotted down.

4. Take field notes, recorded observations of children's music classes you observe.

Session 2

Rhythm and the Body: Discussion of the basic rhythms in natural movements and how these relate to fundamental music concepts, expression and rudimentary music notation.

Discuss the history and evolution of the Dalcroze approach in contemporary music education in the U.S.

Know the basic rhythms: walk, run, skip, gallop, sway.

Discuss the use of movement in teaching music concepts and music notation.

Share personal experiences in music-movement connection.

Review observations of last week’s children’s classes.

Required readings/assignments:

1. Dalcroze, Rhythm, Music and Education. Chapter III and IV

2. Alperson, Chapter II, “The Genesis of Dalcroze Eurhythmics.”

3. Paper: The Dalcroze Approach As I See It: characteristics, definitions (2-3 pp.).

Session 3

Teaching Children: Problems and Goals

Discussion of the development of inner hearing, internalization of music concepts through kinesthetic learning. Analysis: finding language to describe experience.

Articulate your personal philosophy of teaching music; use examples from texts related to

Dalcroze studies, music education in general, and the arts, and observations from your experience.

Analyze what you observe; re-tell, reflect; become a “reflective practitioner.”

Share observations of last week’s children’s classes and your own class. Hand in notes.

Discuss the use of language to describe events observed in these classes.

Discuss written assignment from last week.

Required readings/assignments:

1. Dalcroze, Rhythm, Music and Education Chapter V

2. Mead, Dalcroze Eurhythmics in Today’s Music Classroom. Introduction, Chapter I, “The Dalcroze Approach to Music Learning,” pp. 4-16

Session 4

The Classroom: Practical issues in the classroom: management, pacing of lesson. Design exercises, with class management in mind, for group integration, good use of space, exploration of the room. Introduction to classic Dalcroze exercises and games: quick-reaction, follow, and canon.

Discuss your class and private teaching, and challenges you face in these venues.

Answer the questions, “What do I do when an exercise isn’t working . . . when I lose control of the class . . . when one child seems [uninvolved] [out of control] [lost] . . . when I have problems with a [parent] [caregiver] . . . ?

Discuss class management via the Dalcroze exercises.

Discuss group “orchestration;” design exercises for individuals, partners, small groups, the whole group. Discuss group design:

lines, circles, clusters, individuals “scattered” in space.

Role-play with peers.

Required readings/assignments:

1. Aronoff, Preface and Part One, pp. ix-40.

2. Mead -Chapter III

Session 5

Children in Movement: The natural movements of children: movements in place, movements in space. Identify natural tempi.

From your class observations, make a list of children’s natural movements. (Be sure to specify age groups).

Become familiar with “typical” tempi for walk, run, gallop, of a group of children.

Design movement exercises which focus on children’s individual tempi. Discuss issue of teacher modeling for students;

when is this appropriate/not appropriate?

Discuss how to help children when they have movement difficulties [don’t know how to skip;

are confused by direction in space; have trouble with laterality--right side, left side, etc.].

Practice writing note values for locomotor movements, above, as well as for a variety of

movement combinations, in rhythm.

Required readings/assignments:

1. Mead- Chapter IV

2. Find and bring in two pieces for piano that provide an effective illustration of each of the above movements and note values (e.g., “The Wild Horseman,” by Schumann, for gallop; “March,” by Kabalevsky, for walk; “Romanze” from Sonatina in G by Beethoven, for sway).

3. Improvise on the piano (you may notate, if you wish) a short piece of music (melody with simple accompaniment) for each of three basic movements, which may be used to accompany children in your class.

Session 6

The Foundations of Kinesthetic Learning and of Dalcroze Eurhythmics in particular.

Distribution of a comprehensive list of subjects (approximately 32). In-depth discussion

of the broader subjects: accent, anacrusis, silence, repetition, form, time-space-energy relationship.

Discussion of subjects that are appropriate foci in lesson plans for children’s classes.

Discuss how to design an exercise around a particular subject; discuss how to plan and organize a lesson based on a particular subject.

Share selected movement pieces from last week’s assignment.

Required readings/assignments

1. Review Chapter V in Rhythm, Music and Education, in which Dalcroze lists and

writes about some of the subjects.

2. Aronoff (1979), Conclusion, pp. 163-171.

3.Write a 2-3-page paper discussing the nature of the Dalcroze subjects. How do they differ from core subjects traditionally presented in general music classes? Are they useful in planning a curriculum? Include three musical examples, each illustrating a different Dalcroze subject.

Session 7

Beat and Tempo: Exercises for a children’s class, with focus on these subjects. Discuss how to put these into practice.

Discuss ways to integrate beat and tempo, into exercises for children for listening and moving.

Work on maintaining a regular pulse in the body, and adaptation to different tempi.

Try exercises mentioned above in role-playing, with peer group; in “lab” class (children).

Exercises for children to synchronize movements with a partner.

Required readings/assignments:

1. Read Shehan, “Movement: the Heart of Music.”

2. Find songs, repertoire, appropriate for a group of children, in which each clearly illustrates a Dalcroze subject

(e.g., “Boom-da-lida:” Rondo form, twice as fast, accent; “Twinkle:” Binary form, Question-answer;

“Play:” by Bartok, pattern, Question-answer, A-B-C form, cadence, etc.).

3. Bring in three pieces. Make copies for the class; discuss each piece in terms of Dalcroze subjects. (A good source for song materials is Move with the Music, by Aronoff).

Session 8

Use of Metaphor in Teaching Music

How to use imagery to convey concepts in a music lesson to children. Explore pre-notation symbols and forms of graphic notation which clearly illustrate sound and movement.

Discuss daily activities, familiar events, which provide examples of concepts among

the Dalcroze subjects. Find images, with appeal for children, which provide examples of selected subjects.

Use these examples to:

1.Improvise music which illustrates a particular subject

2.Introduce one of the Dalcroze subjects to students

3.Formulate a movement exercise with focus on a subject.

Design and role-play with peers exercises for children that focus on the following subjects: tempo, levels of pulse, fast-slow. Use imagery in your explanations.

Readings/assignments:

1. Landis & Carder, “The Approach of Emile Jaques-Dalcroze, pp. 5-38.

2. Alperson, Chapter VIII, “The Students Speak,” pp. 188-206.

Session 9

Duration.

Beginning to represent durations, or note values, found in natural movement, in music notation on the board. Explore the following transitions: sound to movement to written symbol; written symbol to sound; movement to sound, sound to movement; sound to written symbol.

Elicit a variety of locomotor movements by children in classes (different ways to get “from here to there”).

On board, introduce basic note values, representing walk, run, and equivalent rests.

Introduce names of notes (quarter note, two eighths, etc.); establish a system of note-naming in rhythm:

tah, ta-tay; walk, run-ning, etc.

Students read from chalkboard, using rhythmic note-naming; speak and clap.

Address issue of clapping: musical clapping--use space to show duration, musical tension, melody line, etc.

Readings/assignments:

1.Mead: continue with Chapter IV

2.Mursell, Chapter 9, “Growth in Musical Insight,” pp. 192-217.

Session 10

Musical patterns

Design exercises and games which help children perceive beats as distinct from rhythm pattern.

Begin to combine note values in clapping and stepping.

Discuss patterns that are age-appropriate, especially when executed through stepping

(e.g., young children may experience difficulty in laterality, when starting patterns on left or right leg).

Echo games help in remembering patterns; familiar songs may be used in recognizing patterns.

Readings/assignments:

Three-Part assignment on "Pattern."

1. Write a one-page definition of "Pattern" as it pertains to music.

2. Take a walk outside and find ten examples of patterns around you; add these to your paper (you may include photos.) Pa

3. Work out a pattern game for children in a class you observe/teach; write out, copy, and hand out in Methods class. Be prepared to role-play in class with your peers.

Session 11

Musical Notation and Patterns.

Improvise simple patterns in movement, using quarter, two eighths, quarter rest. Sing simple folk songs, clap, move, notate on board.

Practice notating music rhythmically, i.e., write note heads in rhythm, followed by stems done in the same manner.

Leave more space where the duration is longer.

Discuss music notation as another way of moving the music; i.e., symbols are created through the movement of the hand

with the chalk on the board. This practice is essential in the Dalcroze work; children should apply this technique

whenever they practice music notation.)

Invent exercises which bring children from movement-gesture, locomotor movements-to the written symbol.

For older children, work on “layering” notation: showing different levels of pulse, over a rhythm pattern.

Required readings/assignments:

1.Aronoff, “Reaching the Young Child Through Music: Howard Gardner’s Theory of Multiple Intelligences as Model.”

Session 12

Musical Expressivity and Artistry—concepts for children

Discuss these practices: to maintain natural movement, progress a step at a time; vary movements, use of space, improvised music, etc.

Use different parts of the body (i.e., in working with a pattern, clap it, tap it, step it, move freely with the whole body).

Vary improvised music for movement: get louder, slower, heavier, change key, nuances.

Give instructions economically; give class a chance to practice an exercise; observe students keenly while improvising for movement; be prepared to critique and give analysis of the subject matter.

Required readings/assignments;

1.Landis & Carder, “Beth Landis: Realization in Movement as a Way of Comprehending Music,” pp. 178-190.

2.Eisner, “The Human Spirit: the Arts in Education.”

Session 13

Structuring the lesson

Observation, description, assessment. Discuss the art and usefulness of self-critique.

Discuss the learning you have observed in children’s classes you have taught/visited.

What kind of learning takes place?

How can an observer assess a student’s learning experience in a eurhythmics class?

What standards do teachers have by which they can assess their own performance in class?

What have you, the observer/teacher learned?

Required reading/assignments:

Answer the questions above in a paper (3-5 pp.). Use citations from readings to bolster statements. Arrange a brief interview with the teacher/s of classes you have observed; converse with a student or students in a class for information about his/her experiences in the class. This paper should be completed and handed in in two weeks (Session 15).

Session 14

Overview of the Classroom Structure.

Taking into account particular age groups, what constitutes learning in a music class over a semester? What are appropriate goals

for the semester? Discuss concept of spiral curriculum. From what you have witnessed in the classes you have visited/taught

over the last semester, what are some of the goals that have been realized, and should be included in a curriculum?

Session 15

Improvisation. Thinking on your feet, or the disappearing curriculum.

Address these issues: What happens when my planned lesson takes an unexpected turn? How do I deal with difficult questions

(what if I am unable to answer a student’s question?). What if most of the class has great difficulty with an exercise I have planned? What do I do if my lesson is not working out?

Discuss the paper assigned and hand in.