So far only arm movements had been employed, and those merely the conventional ones of the conductor. The next step was to devise a series of arm movements, providing a means of clearly marking all tempi from two beats in the bar to twelve beats in the bar, including such forms as 5/4 7/4 9/4 11/4, and a system of movements of the body and lower limbs to represent time values from any number of notes to the beat up to whole notes of twelve beats to the note. From the first the work aroused keen interest among the students and their parents, and the master was given enthusiastic help by them in all his experiments; above all he was loyally aided by his assistant, Fräulein Nina Gorter. The Conservatoire authorities, however, were not sympathetic, and it became necessary to form a volunteer-experimental class, which worked outside official hours and buildings.

The first public recognition of the method was at the Music Festival in Solothurn in 1905, where a demonstration was given which made a striking impression on those present. The value of the method for the elementary education of musicians was immediately recognized and some slight idea obtained of the part it might play in general elementary education. It has been made clear that the method had its origin in the attempt to give life and reality to musical education, to give a foundational development on which specialized music study could be based, and that it had grown naturally and gradually as the result of observation and experiment. Now it began to be apparent that something still greater than the original aim had been achieved, that the system evolved was one which, properly used, might be of enormous value in the education of children. With characteristic energy Jaques-Dalcroze, inspired by the new idea, took up the study of psychology, in which he was helped by his friend, the psychologist Claparède, who early saw the value which the new ideas might have in educational practice. The change of outlook which now took place in the master's mind can best be made clear by a translation of his own words.[1]

[1] Address to students, Dresden, 1911 (Der Rhythmus, vol. i, p. 33).

"It is true that I first devised my method as a musician for musicians. But the further I carried my experiments, the more I noticed that, while a method intended to develop the sense for rhythm, and indeed based on such development, is of great importance in the education of a musician, its chief value lies in the fact that it trains the powers of apperception and of expression in the individual and renders easier the externalization of natural emotions. Experience teaches me that a man is not ready for the specialized study of an art until his character is formed, and his powers of expression developed."

In 1906 was held the first training-course for teachers; how the method has since grown can be realized by noting that a fortnight was then considered a sufficient period of training, whilst now the teachers' course at Hellerau requires from one to three years' steady work. In the years 1907-9 the short teachers' courses were repeated; in the latter year the first diploma was granted, experience having shown the need of this, for already individuals in all parts of the world, after but a few days' training, in some cases after merely being spectators at lessons, were advertising themselves as teachers of the method. In 1910 Jaques-Dalcroze was invited by the brothers Wolf and Harald Dohrn to come to Dresden, where, in the garden suburb of Hellerau, they have built him a College for Rhythmic Training, a true Palace of Rhythm.

II. PRACTICE[1]

[1] In the preparation of this chapter free use has been made of the writings of M. Jaques-Dalcroze and of Dr. Wolf Dohrn, Director of the College of Music and Rhythm, Hellerau, Dresden.

The method naturally falls into three divisions—

(a) Is essentially the Jaques-Dalcroze method—that which is fundamentally new. As it is this part of the method which is likely to prove of great value in all systems of education, not merely as a preparation for the study of music, but as a means to the utmost development of faculty in the individual, it will be dealt with in detail.