The Music and Movement program draws on the pedagogical principles of Dalcroze Eurythmics, which is based on the premise that the human body is the source of all musical knowledge. Physical awareness or kinaesthetic intelligence is one of our most powerful senses, yet it is often taken for granted. We use it in everyday situations to keep our balance, judge distances and manipulate objects around us. Similarly, we must move with flexibility, fluidity and economy to play a musical instrument with both passion and skill. Dalcroze Eurythmics allows us to gain a practical, physical experience for music before we theorize and perform. This ensures that the whole person (not just the fingers and the brain) is educated in the development of musicianship and artistry.
Dalcroze Eurythmics provides a concrete approach (movement) to an abstract art (music). In learning about time, space, energy, weight and balance through movement, we explore the same elements in music in a wholesome way. It is an education through and for music, rather than an education about music. Dalcroze Eurythmics develops and refines the musical imagination and the capacity of the student to experience and express the elements of music through whole body movement, singing and instrumental playing.
In addition to receiving credit towards a Certificate in Music Pedagogy, participants wishing to pursue Dalcroze Canada's teacher-training certification may count this program towards training hours. The pedagogical approach has a three-part structure, namely rhythmics, rhythmic solfège and improvisation, all three being interrelated and mutually interdependent.
- Rhythmics: The whole body is engaged in the physical exploration of musical rhythm, melody, harmony, form, etc. Making sensitive connection between music listening and movement response improves musicality. Rhythmic exercises refine body memory in terms of technical accuracy and artistic sensibility. It is this refinement of our physical memory that will ultimately inform and improve our instrumental and vocal performance.
- Rhythmic solfège: These classes connect Eurhythmics training to ear training. Students use movement, gestures, improvisation and singing to reinforce aural training concepts, with the goal of developing acute inner hearing (muscular or kinesthetic memory of sound). This body-ear relationship allows students to recall, imagine and audiate musical information away from a sound source.
- Improvisation: Improvisation classes involve the presentation of a particular musical idea, using all the means at the disposal of a composer-performer, instantaneously. Improvisation provides the aesthetic and kinaesthetic building blocks for quality music making. It develops our concentration and alertness, fosters our flexibility, fluidity, originality and expressivity, and deepens our understanding of musical subjects, to bring harmony between our capacity of imagination and realization.
Email Reminder Date:
Dr. Louise Mathieu, Diplôme Supérieur
Cheng-Feng Lin, Candidate for Diplôme Supérieur
Laura Ono, Candidate for Dalcroze License