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Abstract
This investigation of Dalcroze Eurhythmics as a process for awakening musicality and developing musicianship, was undertaken for the purpose of clarifying the Dalcroze approach to a musical education and adapting it for a Kindergarten music program.
Emile Jaques-Dalcroze (1865-1950) formulated his approach to a musical education based on the conviction that rhythm is the source of musicality. Although it is generally acknowledged that our basic perception of musical rhythm is closely associated with motor sensations within the body, Dalcroze was the first to use this concept as the foundation for a complete method of musical education combining rhythmic movement, ear-training and improvisation.
Dalcroze considered rhythmic training an essential part of musical as well as general education believing that rhythmic education would lead to self-understanding, self-discipline, sensitivity and creativity. His principles are compatible with contemporary education in that they integrate cognitive, affective and psycho-motor behaviors.
This adaptation of Dalcroze Eurhythmics for a Kindergarten music program included a specific study comparing three groups of kindergarten children; one group receiving an "informal" music program, one group receiving Eurhythmics with improvisation and one group receiving Eurhythmics without improvisation. The study took place over one school year during which time the groups involved in the Eurhythmics program participated in 44 lessons following a format that incorporated ear-training, movement exploration, rhythmic movement, rhythmic games, relaxation, improvisation, and a 'concert time'.
A pre-post test, designed to measure the Kindergarten child's music aptitude through music and movement improvisation, was administered to ten randomly selected children from each group. The test focused on rhythmic movement and improvisation examining the hypotheses that (1) children receiving Eurhythmics training will outperform children not receiving this training in their recognition of and response to familiar rhythm patterns in unfamiliar music and (2) children receiving Eurhythmics with improvisation will outperform children not receiving improvisation in their utilization of patterns when improvising on a set of bells.
The test results provided positive support for the claim that Dalcroze Eurhythmics deserves consideration for inclusion in early childhood musical education. It is hoped that this investigation will renew interest in the Dalcroze approach and encourage longitudinal studies of its effectiveness.
