This group of exercises is a natural extension of those preceding.
The pupil learns a series of movements which together form a rhythm, first practising them singly, then in groups, the signal for the change being always the word hopp. By means of such exercises the component movements required in the physical expression of a rhythm can be learnt, first individually, then in series, until the complete rhythm can be expressed and the use of hopp be dropped, each change of movement becoming itself the signal for the next.
Again, the pupil learns to realize[1] a rhythm played on the piano or indicated by the movements of another person. This is something quite apart from mere imitation; trained by previous exercises, the pupil first forms clear mental images of the movements corresponding to the rhythm in question and then gives physical expression to those images. In other words, he does not reproduce until he has understood; in fact, without understanding, correct reproduction of a lengthy series of such movements is impossible. In the same way, an individual cannot easily remember and repeat a succession of words which he does not understand, but can repeat without difficulty a long series of words of which he understands the sense. Indeed, the importance of many of these exercises becomes clearer when the way in which children are taught to read and write is remembered.
[1] Realize is used in rhythmic gymnastics in the sense express by movements of the body.
Oral and visual images of letters and words are impressed on the child by reading aloud, and in this way the young brain easily masters the difficult work of reading and writing. The Jaques-Dalcroze method proceeds in exactly the same manner as regards the elements of music.
When we have once realized this point, we are bound to wonder why music teaching has not always been based on this elementary and unfailing form. What would be said to teachers who tried to teach children to read and write without letting them spell and read aloud? But this is what has often been done in the teaching of music, and if children generally show but little pleasure and interest in their first music lessons, the fault does not lie with them but with our wrong method of making the elements clear to them.
As a matter of fact we generally do not make the latter clear to them, and fail in the most important duty of the educator and teacher, namely, that of making the child really experience what he is to learn.
DEVELOPMENT OF MENTAL RESPONSE
A rhythm in music consists of a regularly recurring series of accented sounds, unaccented sounds, and rests, expressed in rhythmic gymnastics by movements and inhibitions of movements. Individuals who are rhythmically uncertain generally have a muscular system which is irregularly responsive to mental stimuli; the response may be too rapid or too slow; in either case impulse or inhibition falls at the wrong moment, the change of movement is not made to time, and the physical expression of the rhythm is blurred.
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.