Emile Jaques-Dalcroze

Emile Jaques-Dalcroze (1865-1950) was a Swiss teacher and composer known for developing
eurhythmics, an approach to music education involving whole body movement.

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Born July 6, 1865, Emile-Henri Jaques was the only son of Jules-Louis and Julie Jaques, a
French-Swiss couple living in Vienna, where his father represented Swiss clockmakers. Emile
and his sister were introduced as children to concerts, theater, opera, and piano lessons. After the
family moved to Geneva Emile studied at the Conservatoire de Musique (1877-1883) and
continued his professional training in Paris and Vienna (1884-1891) with Talbot, Fauré,
Lavignac, Marmontel, Lussy, Graedener, Prosnitz, Fuchs, and Bruckner. He worked one season
as a conductor at the Théatre des Nouveautés in Algiers, where North African music stimulated
his interest in the connections of human movement and rhythm.

Emile Jaques began to compose seriously during his early 20s and soon changed his name to the
more distinctive Jaques-Dalcroze, perhaps to avoid confusion with a French composer famous
for his polkas. His extensive works included music for orchestra, chamber orchestra, and piano;
music dramas; operas; choral works; some 1,700 songs; and many books relating

In 1892 Jaques-Dalcroze was named a professor at the Conservatoire de Musique de Genève,

where he remained until 1910. During the 1890s he searched for better ways to help his students
hear accurately and respond spontaneously. "Rhythmic gymnastics," as Jaques-Dalcroze called
his special movement work, offered many new ways to move and make music with the original
instrument, the human body. Working from the basics of singing, breathing, walking, and
beating time, Jaques-Dalcroze and his early students eventually explored more adventurous
possibilities of connecting music and movement. Lunging, skipping, pulling a partner, carrying
an imaginary weight, making a cannon—these called for timing, strength, greater use of the body
in space, imagination, awareness of form, and/or cooperation with other people.

Many exercises in the method were based on walking, which Jaques-Dalcroze took to be the
natural breakdown of time into equal parts. For example, students might be told to walk around
the room following the music which he would improvise at the keyboard, responding directly to
the beat and to changes in speed and dynamics. Students would thus become aware of how they
had to adjust the length of their steps and how they needed to control their use of energy and
body weight. Other typical activities included quick reactions such as starting or stopping on
command and walking twice as fast or twice as slow. Another basic practice was the walking or
stepping out of rhythmic patterns. The teacher would play a musical example. After listening
carefully, the students would immediately repeat it, matching their steps exactly to the sequence
of short and long notes they perceived. Work to develop the sense of measure or bartime was
developed from the standard arm gestures of conducting. Experienced students could beat
regular bartime with their arms while simultaneously stepping rhythmic patterns.

Breathing was understood by Jaques-Dalcroze to be a natural source of dynamics and phrasing.

He created many exercises to help students feel how they could shape the flow and energy of
breathing. Ideas to encourage the sense of phrasing also included contrasting light and heavy
steps, using a real or imagined resistance such as stretching an elastic, or taking turns moving
with a partner or in groups. This work led to "realizations" of more complex forms such as
inventions, fugues, and rondos. Sometimes students even created "plastic counterpoint," or
movement independent of, but related to, its music. Jaques-Dalcroze saw the new work of solo
dancers such as Loie Fuller and Isadora Duncan, who inspired him and confirmed his own
experiments between 1900 and 1910. Like Duncan, Jaques-Dalcroze explored movement
through deep research into the natural movements of breathing, walking, lunging, running,
skipping, and jumping.
Jaques-Dalcroze made his work known by giving lecture-demonstrations and publishing the
Méthode Jaques-Dalcroze (1906), which appeared in both French and German editions. From
1910 to 1914 he directed the Bildungsanstalt Jaques-Dalcroze, a training college built to support
his work at Hellerau near Dresden, Germany. Hundreds of teachers and professional students
were attracted to this forward-looking school, which offered solfège (ear training), rhythmic
gymnastics, keyboard improvisation, plastique (advanced music-movement study), music theory
and practice, Swedish gymnastics, dance, and anatomy.

The Hellerau school festivals of 1912 and 1913 included a student version of Gluck's Orpheus,
based on the new movement principles of Jaques-Dalcroze and using the new architectural
theater designs and lighting concepts of Adolphe Appia. Among the faculty and students of
Hellerau were people who became prominent in music, dance, theater, and many other fields.
Many helped to spread the Jaques-Dalcroze method by teaching in conservatories and schools
throughout Europe and North America. The method came to be known in English as
eurhythmics, which means good or right rhythm. The early exercises were continually renewed
and elaborated, however, so that eurhythmics has always been developing and is, in fact, still a
vital method.

During World War I Jaques-Dalcroze established his own school in Geneva, the Institut Jaques-
Dalcroze, where he taught until shortly before his death on July 1, 1950. The institute, now state-
supported, serves today as an international center of this approach to music education.
Professional training programs are also currently available in a number of other countries.
Thousands of people have had contact with the Jaques-Dalcroze method, which has had
widespread influence in 20th-century teaching of music and dance.

Jaques-Dalcroze increased understanding of the sources of music and movement in the human
body. For nearly 60 years he was an inspiring, imaginative master, whose musicianship and
personality helped to form many outstanding teachers and artists. Beyond the circle of his
students and associates, his writings stimulated a broad public.

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tranlasion
Lahir 6 Julai 1865, Emile Jaques-Henri adalah anak-satunya Jules-Louis dan Julie Jaques, ruang
tamu pasangan Perancis-Switzerland di Vienna, di mana ayahnya diwakili clockmakers
Switzerland. Emile dan adiknya diperkenalkan sebagai anak-anak untuk opera konser,, teater,
dan pelajaran piano. Setelah keluarganya pindah ke Geneva Emile belajar di Konservatorium de
Musique (1877-1883) dan dilanjutkan latihan profesional di Paris dan Vienna (1884-1891)
dengan Talbot, Faure, Lavignac, Marmontel, Lussy, Graedener, Prosnitz, Fuchs, dan Bruckner.
Dia bekerja satu musim sebagai konduktor di Teater des Nouveautés di Algiers, di mana muzik
Afrika Utara merangsang minatnya dalam hubungan gerakan manusia dan irama.

Emile Jaques mula menulis serius selama 20-an awal dan akan menggantikan namanya ke-
Jaques lebih khas Dalcroze, mungkin untuk mengelakkan kekeliruan dengan seorang komposer
terkenal Perancis polka nya. karya-Nya yang luas termasuk muzik untuk orkestra, orkestra bilik,
dan piano, drama muzik, opera, karya-karya paduan suara, beberapa 1,700 lagu, dan banyak
buku yang berkaitan

Pada tahun 1892 Jaques-Dalcroze diangkat menjadi profesor di Konservatorium de Musique de

Genève, di mana ia tetap sampai 1910. Selama 1890-an ia mencari cara yang lebih baik untuk
membantu murid-muridnya mendengar tepat dan menanggapi secara spontan. "Senam berirama,"
sebagai Jaques-Dalcroze menyebut pekerjaan gerakan khusus, menawarkan banyak cara-cara
baru untuk bergerak dan membuat muzik dengan instrumen asli, tubuh manusia. Bekerja dari
dasar-dasar bernyanyi, bernafas, berjalan, dan masa pemukulan, Jaques-Dalcroze dan murid awal
akhirnya dieksplorasi lebih banyak kemungkinan petualangan yang menghubungkan muzik dan
gerakan. Menerjang, lompat tali, menarik pasangan, membawa berat khayalan, membuat
meriam-ini disebut untuk masa, kekuatan, gunakan lebih besar dari tubuh dalam ruangan,
imaginasi, kesedaran bentuk, dan / atau kerjasama dengan orang lain.

Banyak latihan dalam kaedah didasarkan pada berjalan, yang Jaques-Dalcroze mengambil
gangguan alami waktu menjadi bahagian yang sama. Sebagai contoh, pelajar mungkin akan
diminta untuk berjalan di sekitar bilik mengikut muzik yang dia akan berimprovisasi di
keyboard, menanggapi secara langsung untuk mengalahkan dan perubahan dalam kelajuan dan
dinamik. Pelajar dengan demikian akan menjadi sedar tentang bagaimana mereka harus
menyesuaikan panjang langkah mereka dan bagaimana mereka perlu untuk mengendalikan
penggunaan tenaga dan berat badan. Kegiatan khas lain termasuk reaksi cepat seperti memulakan
atau berhenti pada perintah dan berjalan dua kali lebih cepat atau dua kali lebih lambat. Latihan
dasar lainnya adalah berjalan atau melangkah keluar dari pola berirama. Guru akan memainkan
contoh muzik. Setelah mendengar dengan cermat, para pelajar akan mengulanginya, sesuai
langkah-langkah mereka persis dengan urutan nota pendek dan panjang mereka dirasakan.
Bekerja untuk membangunkan rasa mengukur atau bartime dibangunkan dari gerakan lengan
standard penanaman. pelajar yang berpengalaman boleh mengalahkan bartime biasa dengan
tangan mereka sambil menginjak pola berirama.

Pernafasan difahami oleh Jaques-Dalcroze menjadi sumber alami dinamik dan kalimat. Dia
menciptakan banyak latihan untuk membantu pelajar merasa bagaimana mereka boleh
membentuk aliran dan tenaga dari pernafasan. Idea untuk menggalakkan rasa ungkapan juga
termasuk kontras langkah ringan dan berat, dengan menggunakan perlawanan nyata atau
dibayangkan seperti peregangan elastis, atau bergerak bergantian dengan pasangan atau dalam
kumpulan. Karya ini menyebabkan "realisasi" dari bentuk-bentuk yang lebih kompleks seperti
penemuan, fugues, dan rondos. Kadang-kadang pelajar bahkan mencipta "tandingan plastik,"
atau gerakan bebas, namun berkaitan dengan, muzik. Jaques-Dalcroze melihat karya baru penari
solo seperti Loie Fuller dan Isadora Duncan, yang terinspirasi dia dan disahkan eksperimen
sendiri antara 1900 dan 1910. Seperti Duncan, Jaques-Dalcroze gerakan dijelajahi melalui
penelitian jauh ke dalam gerakan alami bernafas, berjalan, menerjang, berlari, lompat tali, dan
melompat.

Jaques-Dalcroze membuat karyanya dikenali dengan memberikan ceramah-demonstrasi dan

penerbitan kaedah Jaques-Dalcroze (1906), yang muncul dalam edisi Perancis dan Jerman. Dari
1910-1914 beliau mengarahkan Bildungsanstalt Jaques-Dalcroze, sebuah perguruan tinggi dibina
untuk menyokong latihan karyanya di Hellerau berhampiran Dresden, Jerman. Ratusan
profesional guru dan pelajar tertarik untuk sekolah ini ke depan, yang menawarkan solfège
(latihan telinga), senam irama, improvisasi keyboard, Plastique (lanjutan muzik-gerakan kajian),
teori muzik dan amalan, senam Sweden, tarian, dan anatomi .
The festival sekolah Hellerau dari tahun 1912 dan 1913 termasuk versi mahasiswa Orpheus
Gluck, berdasarkan prinsip-prinsip gerakan baru Jaques-Dalcroze dan menggunakan desain
teater baru senibina dan pencahayaan konsep Adolphe Appia. Di antara fakulti dan mahasiswa
Hellerau orang-orang yang menjadi terkemuka dalam muzik, tarian, teater, dan bidang lain.
Banyak membantu menyebarkan kaedah Jaques-Dalcroze dengan mengajar di Konservatori dan
sekolah-sekolah di seluruh Eropah dan Amerika Utara. Kaedah ini kemudian dikenali dalam
bahasa Inggeris sebagai eurhythmics, yang bermaksud irama yang bagus atau ke kanan. Awal
latihan terus-menerus dikemaskini dan diterangkan, bagaimanapun, jadi yang eurhythmics selalu
berkembang dan, pada kenyataannya, masih merupakan kaedah penting.

Selama Perang Dunia I Jaques-Dalcroze mendirikan sekolah sendiri di Geneva, Institut Jaques-
Dalcroze, di mana ia mengajar sampai sesaat sebelum kematiannya pada tarikh 1 Julai 1950.
Lembaga, sekarang negara-disokong, berfungsi hari ini sebagai pusat antarabangsa pendekatan
untuk pendidikan muzik. program latihan profesional juga saat ini terdapat di negara-negara lain.
Ribuan orang telah kenalan dengan kaedah Jaques-Dalcroze, yang mempunyai pengaruh luas di
abad ke-20 mengajar muzik dan tari.

Jaques-Dalcroze meningkatkan pemahaman tentang sumber-sumber muzik dan gerakan dalam

tubuh manusia. Selama hampir 60 tahun ia adalah seorang master, inspirasi imajinatif, yang
musisi dan keperibadian membantu untuk membentuk guru banyak beredar dan seniman. Di luar
lingkaran murid-muridnya dan rakan, tulisan-tulisannya merangsang awam luas.