A Critical Lens on Jacques-Dalcroze and Eurhythmics

This dissertation provides a critical lens on Jacques-Dalcroze, his method, and selected works through the lens of modernism. Dalcroze’s philosophy for teaching music was grounded by rhythm and embodiment, among other musical qualities. In this historical study, the author explores the historical and cultural contexts that nurtured Dalcroze’s Eurhythmics through examination of the era, his method books, his music and movement compositions, and his personal writings.

The central theme of this dissertation is the ways in which Dalcroze intends to heal the “mind-body split” through music and movement. This dissertation historicizes the perceived disconnect of the mind and body, allowing the reader to draw parallels to today’s society among today’s learners. More expansively, the Dalcroze method has expanded in many types of performance learning; mostly commonly in classroom music, but also in the applied studio, in dance, and in somatics. In K12 schools, the separation of the performing arts, and even the separation of musicians (ensemblization), can be reconsidered.

For many elementary classroom music teachers, their curriculum is often guided by the philosophies and instructional frameworks of popular pedagogues such as Kodaly, Orff, Gordon, Feierabend, and Dalcroze. These five have professional organizations, certifications, and widely attended workshops specifically for implementing their instructional frameworks. Some music teacher preparation programs even go as far as to subscribe specifically to one of these philosophies on music education. In 21st century classrooms, it is important to reflect upon these pedagogies and their relevance to today’s music students.

As the leader of the Diversity, Equity, and Inclusion committee of the Dalcroze Society of America (DSA), I am regularly thinking about the Dalcroze organizations, the pathways to certification, the method itself, and how they foster (or don’t foster) spaces of belonging. Dalcroze (like all of the methods listed above) privileges Western classical music. This dissertation critically explores the persona of Jacques-Dalcroze, and some of his works. It illuminates many important truths about Dalcroze that are important for any Dalcrozian to understand. I encourage any music educators who strongly identify as a teacher of one of these methods begin to deconstruct the method, the governing system, and the person to better position them in an evolving music education landscape.