Émile Jaques-Dalcroze

“ The solo players of older days were without exception complete musicians, able to improvise and compose, artists driven irresistibly towards art by a noble thirst for aesthetic expression, whereas most young people who devote themselves nowadays to solo playing have the gifts neither of hearing nor of expression, are content to imitate the composer's expression without the power of feeling it, and have no other sensibility than that of the fingers, no other motor faculty than an automatism painfully acquired. ”

“ Jaques-Dalcroze took the view that technique should be nothing but a means to art, that the aim of musical education should be, not the production of pianists, violinists, singers, but of musically developed human beings, and that therefore the student should not begin by specializing on any instrument, but by developing his musical faculties, thus producing a basis for specialized study. This training could only be obtained by awakening the sense, natural though often latent, for the ultimate bases of music, namely, tone and rhythm. ”

“ The keenness which possesses the whole College, the delight of every one in their work, their comradeship, their lack of self-consciousness, their clean sense of the beauty of natural form, promises a new and more harmonious race, almost a realization of Rousseau's ideal, and with it an era of truly rhythmic artistic production. ”

“ Training the nerve centres, establishing order in the organism, is the only remedy for intellectual perversion produced by lack of will power and by the incomplete subjection of body to mind. Unable to obtain physical realization of its ideas, the brain amuses itself in forming images without hope of realizing them, drops the real for the unreal, and substitutes vain and vague speculation for the free and healthy union of mind and body. ”

“ One can create nothing of lasting value without self-knowledge. The only living art is that which grows out of one's own experiences. It is just the same with teaching; it is quite impossible to develop others until one has proved one's own powers in every direction, until one has learnt to conquer oneself, to make oneself better, to suppress bad tendencies, to strengthen good ones, and, in the place of the primitive being, to make one more complete who, having consciously formed himself, knows his powers. Only in proportion as one develops oneself is one able to help others to develop. ”

“ For a healthy, active person the joy of the daily struggle and of work performed with enthusiasm should be sufficient to beautify life, drive away fatigue and illuminate present and future. This condition of joy is brought about in us by the feeling of freedom and responsibility, by the clear perception of the creative power in us, by the balance of our natural powers, by the harmonious rhythm between intention and deed. It depends upon our creative faculties, both natural and acquired, and becomes greater as these grow. ”

“ The College has a unity born of kindred interests, and every one glows with admiration and esteem for the genius at the head, and for his wonderful method, whilst he himself simply radiates good-will and enthusiasm, and works harder than any one else in the place. He makes a point of knowing each one of his pupils personally, and remarkably quick he is in summing up the various temperaments and characters of those with whom he comes into contact. ”

“ I shall be told that the means of expression are of no importance so long as the artist is able to show his meaning, that a sincere emotion can be clearly expressed even with old-fashioned rhythms, and that to try and create new rhythms is mere technical work, and to enforce such upon the composers of to-morrow is simply depriving them of their character. ”

“ At the present day this music is not interpreted at all, for dramatic singers, stage managers and conductors do not understand the relation existing between gesture and music, and the absolute ignorance regarding plastic expression which characterizes the lyric actors of our day is a real profanation of scenic musical art. Not only are singers allowed to walk and gesticulate on the stage without paying any attention to the time, but also no shade of expression, dynamic or motor, of the orchestra—crescendo, decrescendo, accelerando, rallentando—finds in their gestures adequate realization. ”

“ His pictures are visions, beautiful abstractions of colour and line which he has lived himself, deep down in his inmost soul. He is intensely individual, as are all true mystics; at the same time the spirit of his work is universal. ”

“ There is not time to analyse the music heard; the body must realize before the mind has a clear impression of the movement image, just as in reading, words are understood and pronounced without a clear mental image of them being formed.
When the realization of a rhythm heard has become relatively easy, the pupil is taught to concentrate, by listening to, and forming a mental image of, a fresh rhythm while still performing the old one. ”

“ It is not enough that, thanks to special exercises, students of music should have corrected their faults and be no longer in danger of spoiling their musical interpretations by their lack of physical skill and harmonious movements; it is necessary in addition that the music which lives within them—artists will understand me—should obtain free and complete development, and that the rhythms which inspire their personality should enter into intimate communion with those which animate the works to be interpreted. ”

“ Solo playing of the present day has specialized in a finger technique which takes no account of the faculty of mental expression. It is no longer a means, it has become an end.
As a rule, writing is only taught to children who have reached a thinking age, and we do not think of initiating them into the art of elocution until they have got something to say, until their powers of comprehension, analysis and feeling begin to show themselves. ”

“ One need be but a few days in Hellerau in order to see some of the many advantages which a stay there has to offer. For young men and women searching for a profession in life; for those fresh from school while waiting to discover their natural bent; for adults who seek a change from their ordinary surroundings and who wish to improve in culture and in health; for musicians and students in art, for teachers of dancing, and for children of all ages, a course of study at the College in Hellerau contains advantages and opportunities which seem to exist in no other educational institution. ”

“ There are cases in which the pupil is not naturally musical, and has had no previous knowledge of piano playing, but has learnt to improvise sufficiently well to give a good lesson in rhythmic gymnastics, which means no small degree of ability. This [Pg. 54] training is begun by making use of the simplest, i.e., the common, chords, and when these are known in every key, including those on the dominant, the pupil is expected to improvise a short piece of eight bars, the chief feature to be attended to being the rhythm, which has to be definite and played without hesitation. ”

“ Rhythm of bodily movement, the dance, is the earliest form of artistic expression known. It is accompanied in nearly every case with rude music, the object being to emphasize the beat and rhythmic movement with sound. The quickness with which children respond to simple repetition of beat, translating the rhythm of the music into movement, is merely recurrence of historical development. ”

“ A child finds it difficult to appreciate at the same time a succession of notes forming a melody and the rhythm which animates them.
Before teaching the relation which exists between sound and movement, it is wise to undertake the independent study of each of these two elements. Tone is evidently secondary, since it has not its origin and model in ourselves, whereas movement is instinctive in man and therefore primary. Therefore I begin the study of music by careful and experimental teaching of movement. ”

“ Although feeling for rhythm is more or less latent in us all and can be developed, few have it naturally perfect. The method has many exercises which are of use in this connexion. By means of these the pupil is taught how to arrest movement suddenly or slowly, to move alternately forwards or backwards, to spring at a given signal, to lie down or stand up in the exact time of a bar of music—in each case with a minimum of muscular effort and without for a moment losing the feeling for each time-unit of the music. ”

“ I expect much from education in rhythm in elementary schools, provided it be given regularly, completely and sufficiently. The exercises should be begun at the age of six, with half an hour's lesson three times a week, but these lessons can quite well be taken from playtime. By the age of twelve two lessons a week are sufficient. This training will not only develop the feeling for beauty and form by accustoming the eye to distinguish beautiful movements and lines from those that are ugly, but also render the children susceptible to musical impressions. ”

“ The exercises already dealt with have all the general purpose of developing feeling for rhythm by giving training in the physical expression of rhythms. Those in this last group aim at facility in making crescendos and decrescendos of innervation, in passing from one shade of expression to another, in co-ordinating movements, not only to the rhythm of the music played, but also to its feeling; they allow free play to individuality, to temperament, and give opportunity for that free self-expression for which the preceding exercises have provided facility. ”

“ The experimental study of rhythm should form a part of every well-organized musical education, and this study will be useful not only to musicians, but to music itself. It is quite certain that, if since Beethoven's time harmony has developed, if each generation has created fresh groupings of sounds, it is not the same regarding rhythmic forms, which remain much as they were. ”

“ In the school of landscape painting emotion is created entirely by combinations of moving light and by the rhythms thus caused. In the school of the nude, which pictures the many shades of expression of the human body, the artist tries to show the human soul as expressed by physical forms, enlivened by the emotions of the moment, and at the same time the characteristics suitable to the individual and his race, such as they appear through momentary physical modifications. ”

“ And this because most children have no instinct for time, for time values, for accentuation, for physical balance; because the motor faculties are not the same in all individuals, and because a number of obstacles impede the exact and rapid physical realization of mental conceptions. One child is always behind the beat when marching, another always ahead; another takes unequal steps, another on the contrary lacks balance. All these faults, if not corrected in the first years, will reappear later in the musical technique of the individual. ”

“ He has recreated the human body as a decorative unit. He has shown how men, women and children can group themselves and can be grouped in designs as lovely as any painted design, with the added charm of movement. He has taught individuals their own power of gracious motion and attitude. Musically and physically the results are equally wonderful. But the training is more than a mere musical education ”

“ I preach joy, for it alone gives the power of creating useful and lasting work. Amusement, an excitement which stimulates the nerves instead of uplifting the spirit, is not necessary in the life of the artist. ”

“ Plato, in the words quoted above, has said that the whole of a man's life stands in need of a right rhythm: and it is natural to see some kinship between this Platonic attitude and the claim of Dalcroze that his discovery is not a mere refinement of dancing, nor an improved method of music-teaching, but a principle that must have effect upon every part of life. ”

“ The schools, admirably organized on the intellectual side and, within certain limits, increasingly efficient in their physical training, are, as a rule, lacking in the influence of art, as indeed in most cases are the corresponding schools in other countries. The spring of artistic training has not been touched. The divorce between intellectual discipline and artistic influence (except indeed so far as the latter is operative through the study of literature, through a little drawing, and through vocal music) is complete. ”

“ An atmosphere of enthusiasm and good-will permeates the social life. No community of the kind could have a more delightful spirit of unity than that which pervades the Jaques-Dalcroze School. All students are keen and anxious to live as full a life as possible, every one will willingly and unselfishly take time and trouble to help others who know less than themselves. ”

“ I consider that one does not require to be a genius in order to teach others, but that one certainly does require strong conviction, enthusiasm, persistence and joy in life. All these qualities are equally derived from the control and knowledge of self. ”

“ All modern educationalists are agreed that the first step in a child's education should be to teach him to know himself, to accustom him to life and to awaken in him sensations, feelings and emotions, before giving him the power of describing them. ”

“ In Greek literature, Greek philosophy and Greek art would be found a means of kindling new life in education and of giving it the power of building up strong and independent personalities. When there came to Humboldt the unexpected opportunity of reforming the secondary schools of Prussia, he so remodelled the course of study as to secure for Greek thought and letters a place which, if not central and determinative, would at least bring the élite of the younger generation in some measure under their influence. ”