Association, Dissociation, Automatism, and Quick Reaction

“Clap the beat.” “When I say change, change between your hands and feet.” It’s not often that we encounter a eurhythmics lesson without hearing one of these quintessential phrases. They are an integral part of a eurhythmics class and an indicator that students are experiencing one of several frequently used pedagogical strategies: association, dissociation, or…

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Plastique Animée: The Dalcrozian Analytical Technique

“The acquisition of all the plastic, dynamic, and agogic qualities indispensable to rhythmist or dancer, actor, or mime, will make him only an adapter, a transposer, an automaton, unless these technical qualities are controlled by a wealth of fancy, a supple, elastic temperament, a generous spontaneity of feeling, and an artistic, responsive nature. All plastique…

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Group Activities in the Dalcroze Lesson

Perhaps the most enduring negative side effects of the recent pandemic were caused by the social isolation. Families were segregated during illnesses, schoolchildren were separated from their peers, and communities suffered permanent losses of their members. I found myself missing even the most basic, mundane tasks like grocery shopping, taking my children to local playgrounds,…

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Time, Space, & Energy

By Mary Dobrea-Grindahl, Diplôme Supérieur and Lauren Hodgson, Dalcroze License The relationships of time, space, and energy are considered a hallmark of the Dalcroze practice. These three elements are essential to our work in bringing music to life, developing body awareness and control, and understanding the physics and energy of harmony, melody, nuance, and rhythm.…

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Spatial Orientation and Awareness

For many years of my own eurhythmics practice, I focused mostly on trying to coordinate my arms and legs through ever more complicated rhythms. Only recently have I become entranced by one of the very things that makes movement possible—space. It seems obvious: How can you move if you are not aware of the space…

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Canons in the Dalcroze Classroom

When I was 8 or 9 years old, my mother had me listen to Franck’s Violin and Piano Sonata – she had just bought the LP and she thought I’d be interested in the 4th movement. We were the sort of family that was always singing rounds, but this was the first time I’d heard a…

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