Emile Jaques-Dalcroze Eurhythmics – artistic and educational aspects of the method in contemporary music education in Poland

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Uniwersytet Gdanski, Instytut Pedagogiki WNS

EMILE JAQUES-DALCROZE EURHYTHMICS - ARTISTIC AND EDUCATIONAL ASPECTS OF THE METHOD IN CONTEMPORARYMUSIC EDUCATION IN POLAND

SZATAN Ewa- Professor, habilitated doctor

What is Dalcroze Eurhythmies? In 2015 we celebrated the 150th anniversary of the birth of Emile Jaques-Dalcroze, who is the creator of rhythm. This is an opportunity to remind his ideas (Jaques-Dalcroze 1992; Burowska 1976; Szatan and make their reinterpretation. It also invoke Dalcroze Eurhythmies - as a method of music education with unusual values artistic and educational (Jaques-Dalcroze 1992; Burowska 1976; Szatan, Muziol, Komorowska-Zielony. Eurhythmies is a method of music education present in Poland for almost a hundred years. music education rhythmic skill

Eurhythmies from the beginning reflected the modem ideas of artists, educators and psychologists, who lived in the time of Dalcroze. Characters such as J. J. Rousseau, J. Dewey, E. Claparede and enthusiasts of the New Education Movement (Burowska 1976; Szatan 2015) enriched thinking E. Jaques-Dalcroze about experiencing music by the man and the teaching of music in schools. Dalcroze was thinking of using Eurhythmies in therapy. It decided that in the Dalcroze Method recognized educational values. Cooperation E. Jaques-Dalcroze with A. Appia, their achievements, developed Eurhythmies and movement expression (Plastique animee), which led to changes in dance, ballet, opera, theatre, but also in artistic gymnastics. These achievements have allowed the perception of artistic aspects Eurhythmies (Szatan, Muziol, Komorowska-Zielony 2016; Szatan 2016 a; Szatan 2016 b).

Just they are - artistic qualities of rhythm and its educational value were my contribution to the scientific reflection.

Emil Jaques-Dalcroze (1865-1950), a well- known educator and creator of the Eurhythmies, a man of many talents. He was a composer, theorist and conductor of musical theatre. His professional life filled with music, but in his youth, he tried his hand as an actor and studied drama of the Comedie Francaise (Brzozowska-Kuczkiewicz 1991; Jaques-Dalcroze 1992). His personal experiences reflected in the Dalcroze holistic approach to human development.

Stages of music education

Musical development of man is a process that we see most fully in professional music education. In Poland it is based upon, among others, the Dalcroze Method and occurs at various levels. In pre-school education is carried out selected elements his method. Here puts up a preliminary diagnosis of musical abilities of the child and predispositions for music education. Music education at the music school is the first level. The child starts school at 6-7 years of age. Then the student continues to study at the secondary school after graduation, which may take musical studies. Parallel is a rhythmic education outside the school, where the participant can be anyone of any age. However, it is only a leisure activity; it is a self-development and the development of musical interests of men.

In Poland, the legislature determines the levels of qualification in the field of Dalcroze Eurhythmics. They confirmed by maturity certificate or diploma. The full training cycle begins with the primary school and ends at the university. Figure below illustrates the stages of education.

Table No Gradation of music education (defined by Polish law - 2016)

Figure 2 shows the type of institution, which implements the Dalcroze Eurhythmics - rhythmic education here is part of the curriculum of the music school, or a separate faculty (or just a specialty) at the University of Music.

Type of music school to the subject of Dalcroze Eurhythmics

Educational aspects Dalcroze Method most fully reflect the goals that are included at curricula. At the early stage mainly draws attention to introduce the student to the subject of music. It educates his skills, identifies the areas of musical knowledge necessary to understand music. At this stage diagnosed with the development musical ability of the student. Achieved in the course of music education results allow to apply for a student in a competition (practical examination with the suitability of music and movement and competition certificate from the first stage of education) for admission to high school students.

Table No The beneficiary education rhythm at a certain stage of education

The educational values of Dalcroze Eurhythmics

The main goals rhythmic education are part of the whole process and eg. the development musical abilities of the most dynamic and important for the further activity of the child cover the period of primary school. For further stages, dominate competence and professional approach to the method (table 4.)

Table No The main objective of rhythmic education

For the realization of the objectives of education determines the objects, which in the case of primary and secondary schools have the same name and the number of hours for the implementation of the curriculum. On the last level of education, each university itself defines the profiles studied Eurhythmics graduate, made the program and the names of objects.

In Table 6 are shown goals of Eurhythmics method for in major subjects in music education. These are the specific aims relating to both the development of the youngest students musical abilities, as well as develop and improve skills and musical knowledge at every stage of education.

Table No Implemented objects within the education programs - rhythmic

Table No Achieving goals and Objectives in rhythmic education

Acquiring

knowledge of music - conscious recognition and naming of musical phenomena (the rhythmic values, meter duple and the triple); notation in the violin key ; construction of scales and triads harmonic mode, major and minor; dynamic markings, articulation and tempo; musical dictation;

3. Social competence: group work

Dalcroze Eurhythmics in its assumptions is a method of affecting the holistic human development. Educational and artistic values one can notice after analyzing the goals of education. But most complete artistic aspects can be assessed by analyzing the superstructure Dalcroze's Method (plastique animee), which is what children bring to the methods of rhythmic interpretation, movement compositions of the music (sometimes referred to as a rhythmic choreography).

About the artistic value Dalcroze Eurhythmics. What is the movement interpretation?

Movement interpretation has many definitions. According M. Skazinska that Movement Interpretation of piece of music in the spatial composition is a way to explain the same piece of music the movement means. Its task is to translate the basic material of music «anguage of sounds» to «language of movements». She says the quality of movement interpretation of piece of music proves degree of approximation and even the kind of unity of its «sound shap» and «visual shape». («Interpretacja ruchowa utworu muzycznego w kompozycji przestrzennej jest sposobem objasnienia tegoz utworu srodkami ruchowymi. Jej zadaniem jest przelozenie podstawowego tworzywa muzyki «j^zyka dzwiikow» na «jizyk ruchow». O jakosci interpretacji ruchowej utworu swiadczy stopien zblizenia, a nawet niejako jednosci jego «ksztaltu dzwi^kowego» i «ksztaltu wizualnego» (Skazinska 1989: 215-216). Supplementing the definition of the element of emotional experiences performers proposes B. Ostrowska. She says that movement interpretation is a reflection of contents expressive piece of music in motion. This is achieved composition gestures resulting from the emotional experiences. They aim to externalization emotions. The body's movements and gestures suited emotions, which are hidden in the range of sounds musical work. For illustrative music, giving it an additional an expression connected with extra-musical contents. («Interpretacja ruchowa w metodzie E. Jaques- Dalcroze'a jest odzwierciedleniem tresci wyrazowych utworu muzycznego w ruchu poprzez kompozycji gestow wynikaj^c^ z przezycia emocjonalnego, maj^c^ na celu uzewnitrznienie tych przezyc. Tak wi^c, ruchom i gestom nadajemy wyraz emocjonalny, ktory ukryty jest w gamie dzwiikow interpretowania dziela, w przypadku muzyki ilustracyjnej, czy programowej dodatkowo wyraz tresciowy». (Ostrowska 2002: 19-20).

About the movement interpretation said in reference to the youngest artists or amateurs, regardless of age. Presenting music movements of the body is referred to as the movement compositions of the music, when referring to the multiplicity interpreted the movement of elements of musical work and is supported by a deep knowledge of musical performers, and at other times as choreography (this notion does not accept ballet dancers).

Plastique animee is a visual analysis of a piece of music using the body as a relay to express emotions. It is a flexible, harmonious living movement. Although, not necessarily for public performance. Above all Plastique animee reflects the joy of music and movement through cultivating and inspiring the creative process.

Emile Jaques-Dalcroze described the relationship of music and movement: «I think that the role of the dancer-interpreter is included in shaping everything visual in music - the phrasing, the rhythm, the melody line, even in combination harmonics, in the sense of different muscles music dynamisms, in their visualization» («Moim zdaniem rola tancerza-interpretatora zawiera sii w ksztaltowaniu tego wszystkiego, co jest w muzyce plastyczne - we frazowaniu, w rytmie, w linii melodycznej nawet w pol^czeniach harmonicznych, w odczuwaniu mi^sniami rozmaitych dynamizmow muzycznych, w staraniu sii o ich uwidocznienie». (Jaques-Dalcroze 1992: 114).

The Movement interpretation piece of music is a special meeting artist from a musical work. Interpreter to know the location of a piece of music in the epoch, as well as the same era, which created a musical work. Artist delves into history and human culture, literature, painting and sculpture. Exploring the styles and features of various eras (eg. Polyphony Baroque sonata form in classicism, feeling moods in the music of Romanticism, experiments composers in the newest music) leads to a conscious movement search for solutions, to study movement and space. Exploring the profiles of composers and their artistic creativity expands knowledge about music.

Table No. Movement interpretations / space-movement compositions for the music in the curriculum Eurhythmics

forming and carrying out the interpretation (choreograph y) music create traffic that the music (a combination of developed musical abilities, coordination, hearing- impaired - mobility and efficiency in the field of movement techniques, body art and appropriate for this level of expressive movementexpression.

Conclusion

Dalcroze Method in Poland finds its place in the full range (rhythm, solfeggio, piano improvisation) in music education second level and academic level. Preparations for the musical activity of the child are rhythmic classes in kindergarten. It is at this stage of child development rhythm enables the recognition and development of musical skills that will help your child learn to music school first degree or continue school. Further education can continue their studies in music academies for the department or specialty Eurhythmics in Gdansk, Poznan, Lodz, Katowice, Warsaw and Krakow. Eurhythmics appeared in Poland as a private education (before World War II), and the state after the Second World War.

Now, in the twenty-first century, the practice and science Eurhythmics takes place both in public and private schools. This is a proof of the preservation of the tradition of Dalcroze Eurhythmics, a permanent return to the «roots». In the era of the dominance of computers and technology information Eurhythmics is a moment of stop in time and return to the man». We see continued her artistic and educational aspects against the background of modern education. Even when Eurhythmics is an elite method (a musical education is neglected - (Szatan 2005; Szatan 2006 ) and pop-culture it is dominant.

References

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2. Burowska Z. (1976), Wspolczesne systemy wychowania muzycznego. Warszawa, WSiP.

3. Jaques-Dalcroze E. (1992), Pisma wybrane. Warszawa, WSiP.

4. Ostrowska B. (2002), Interpretacja ruchowa dziela muzycznego w metodzie Emila Jaques- Dalcroze'a. In: Rytmika w ksztalceniu muzykow, aktorow, tancerzy і w rehabilitacji. Materialy z V і VI ogolnopolskiej Konferencji Naukowej, Lodz, Wydawnictwo Akademii Muzycznej w Lodzi.

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