Using Recorded Music in a Dalcroze Class

Today’s Dalcroze teacher has easy access to a world of recorded sound that would have been unfathomable to M. Jaques. How do we take advantage of this rich resource and still retain the essence of eurhythmics? Louise Mathieu helps us sort through the issues in this reprint from the American Dalcroze Journal (Vol. 23, No.…

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Executive Director’s Letter

What’s next? As we move out of these last few years of pandemic restrictions, this is a question I often ask myself. As the executive director, one of my roles (in concert with the board of trustees) is to listen, reflect, and envision our future. Where are we—as the Dalcroze USA community—now? How did we…

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Guest Editor’s Letter

Participating in a good eurhythmics class can be a bit like watching a great movie. The director’s filmmaking technique, when it is masterful, disappears once you are swept up in the flow of the movie. It’s only when we emerge from the film that we can marvel at the way it was put together: the…

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A Brief History of Dalcroze Eurhythmics in Guatemala

Making Dalcroze eurhythmics visible in Guatemala is a task that invites researchers to perform deep analysis. It was not possible to confirm the presence of a music teacher in Guatemala who held official accreditation endorsed by the Institut Jaques-Dalcroze in Geneva. However, the impact of this music pedagogy in the development of local musical education…

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Interview with Iramar Eustachio Rodrigues, Brazil-Switzerland

“My Dalcroze eurhythmics teaching experience in my home country, Brazil, and other Latin American countries“By Elda Nelly Treviño (México) Iramar Eustachio Rodrigues (1944–), one of the most renowned and loved Latin American specialists in Dalcroze eurhythmics, was born in Brazil, became a nationalized Swiss citizen, and retired from the Institut Jaques-Dalcroze in Geneva after many…

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Jaques-Dalcroze Rhythmic Solfège Courses: A Personal Experience at Costa Rica’s SINEM

Introduction Throughout my musical career, solfège (music reading and theory) has always been rather bittersweet—challenging yet fascinating. As I progressed from beginning solfège in grade school to counterpoint in college, I became frustrated with the fact that these classes were abstract, repetitive, and, ironically, not very musical. This propelled me to search for a more…

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Letter from the Editor

The second volume of the special edition of Dalcroze Connections dedicated to the practice of Dalcroze Eurhythmics in Latinamerica offers the DSA community a diversity of applications of the principles of Jaques-Dalcroze in different contexts.  This issue makes me feel very proud because among the authors of its articles, we find former graduates of the…

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Improv Corner: Fourth Ree to One

This is a kind of two-for-one composition. In addition to the “disappearing division” rhythmic construction, there is an association at work here. Do you see it? Half notes are played as fourths, dotted quarters as thirds and quarters as seconds. The metric system may be interesting for the eurythmics classroom, but a little too restrictive…

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