The College.
THE JAQUES-DALCROZE METHOD
I. GROWTH[1]
[1] For much of the material of this chapter the writer is indebted to Herr Karl Storck, of Berlin, to whose book E. Jaques-Dalcroze, seine Stellung und Aufgabe in unserer Zeit, Stuttgart, 1912, Greiner & Pfeiffer, the reader is directed.
Emile Jaques-Dalcroze was born in Vienna on July 6, 1865, of mixed parentage, his father being a Swiss from St. Croix in the Jura (hence the artist name Dalcroze), his mother of German extraction. At the age of eight his parents brought him to Geneva, where in due course he became a student at the Conservatoire of Music. His musical education was continued in Paris under Léo Delibes and in Vienna under Bruckner and Fuchs. For a short period his studies were interrupted by an engagement as musical director of a small theatre in Algiers—an opportunity which he used for study of the peculiar rhythms of Arab popular music, which he found unusually interesting and stimulating.
Returning to Geneva, he earned, by a life of varied activities as teacher, writer and composer, a standing which in 1892 brought him the appointment of Professor of Harmony at the Geneva Conservatoire.
The wider experience which the new sphere of work brought was to a certain extent a disappointment, for with it came clear evidence of what had before only been suspected, namely, that the education of future professional musicians was in many ways radically wrong, in that the training of individual faculties was made the chief object, without consideration of whether or no these faculties stood in any close relation to the inner consciousness of the student. In other words, the aim of the training was to form means of expression, without consideration of what was to be expressed, to produce a highly trained instrument, without thought of the art whose servant it was to be, to take as primary object a thing of secondary importance, indeed only of importance at all when consequent on something which the usual training entirely neglected. The students were taught to play instruments, to sing songs, but without any thought of such work becoming a means of self expression and so it was found that pupils, technically far advanced, after many years of study were unable to deal with the simplest problems in rhythm and that their sense for pitch, relative or absolute, was most defective; that, while able to read accurately or to play pieces memorized, they, had not the slightest power of giving musical expression to their simplest thoughts or feelings, in fact were like people who possess the vocabulary of a language and are able to read what others have written, yet are unable to put their own simple thoughts and impressions into words. The analogy here is the simplest use of everyday language; from this to the art of the essayist or poet is far; so in music—one who has mastered notes, chords and rhythms can give musical expression to simple thoughts and feelings, while to become a composer he must traverse a road that only natural talent can render easy.
Jaques-Dalcroze took the view that technique should be nothing but a means to art, that the aim of musical education should be, not the production of pianists, violinists, singers, but of musically developed human beings, and that therefore the student should not begin by specializing on any instrument, but by developing his musical faculties, thus producing a basis for specialized study. This training could only be obtained by awakening the sense, natural though often latent, for the ultimate bases of music, namely, tone and rhythm. As the sense for tone could only be developed through the ear, he now gave special attention to vocal work, and noticed that when the students themselves beat time to their singing, the work became much more real, that the pupils had a feeling of being physically in unison with the music, indeed the feeling of producing something complete and beautiful. Following up this hint, "Gesture Songs" were written, which, it was found, were performed with surprising ease.
Up to this point movement had only been used as an accompaniment to music, not as a means of expressing it; the next step was to give the body a training so refined and so detailed as to make it sensitive to every rhythmic impulse and able to lose itself in any music. This co-ordination of movement and music is the essence of the Jaques-Dalcroze method, and differentiates it from all other methods of similar aim.