Bibliography: Aesthetic/Expressive Qualities
Updated January 24, 2019
Alperson, R. (1995). A qualitative study of Dalcroze eurhythmics classes for adults. Dissertation Abstracts International, 56(10). (AAT 9603274).
Bowman, W. & Powell, K. (2007). The body in a state of music. In L. Besler (Ed.), The Handbook of Research in Arts Education, (p. 1087-1106). Springer: Dordrecht, The Netherlands.
Farber, A. (1991). Speaking the musical language. Music Educators Journal, 78(4), 30.
Frego, R. J. D. (2003). Psychic energy, psychic entropy, psychic ecstasy. The Orff Echo 35(3), 47-51.
Frego, R. J. D. (2009). Plastique animée: A dance genre and a means to artistry. Le Rythme. 100th Anniversary Issue.
Frego, R. J. D. & Kanthak, T. A. (2001). Determining Variables of Improvisation by Dance Musicians within the Context of Modern Dance. Contributions to Music Education 28(2), 51-64.
Jaques-Dalcroze, E. (1920). The Jaques-Dalcroze method of eurhythmics; Rhythmic movement. New York: The H.W. Gray Co.
Jaques-Dalcroze, E. (1924). The technique of moving plastic. The Musical Quarterly 10(1), 21-38.
Jaques-Dalcroze, E. (1930). Eurhythmics, art and education. Translated by F. Rothwell. London: Chatto & Windus.
Jaques-Dalcroze, E. (1930b). Eurhythmics and its implications. Translated by F. Rothwell. The Musical Quarterly 16(3), 358.
Jaques-Dalcroze, E. (1930c). Remarks on arrhythmy. Music and Letters 14(2), 138-148.
Jaques-Dalcroze, E. (2000). Rhythm, music, and education, 5th ed. Translated by H. F. Rubenstien. London: The Dalcroze Society, Inc.
Jang, N. S. (2002). A personal collection of piano repertoire and pedagogy, based on and adapted from the work of Emile Jaques-Dalcroze. D.M.A. dissertation, University of Washington, Washington. Dissertations & Theses: A&I. (Publication No. AAT 3053516).
Juntunen, M. (2002). The practical applications of Dalcroze eurhythmics. Nordic Research in Music Education Yearbook 6, 75-92.
Juntunen, M., & Hyvönen, L. (2004). Embodiment in musical knowing: how body movement facilitates learning with Dalcroze eurhythmics. British Journal of Music Education 21(2), 199-214.
Lussy, Mathis (1885). Musical expression. London: Novello, Ewer, and Co. transl. M. E. Glehn.
Kerr-Berry, J. A. (2001). Applications of Dalcroze eurhythmics to dance training. Journal of Dance Education 1(3), 106-114.
Lee, J. W. (2003). Dalcroze by any other name: Eurhythmics in early modern theatre and dance. Ph.D. dissertation, Texas Tech University, Texas. Dissertations & Theses: A&I. (Publication No. AAT 3095988).
Pierce, A. (1989). Expressive movement: Posture and action in daily life, sports, and the performing arts. New York: Plenum Press.
Pierce, A. (1991). Generous movement: A practical guide to balance in action. California: Center of Balance Press.
Rowen, B. J. (1967). Developing aesthetic concepts through movement. Bulletin of the Council for Research in Music Education 9, 45-62.
Seitz, J. A. (1992). The development of bodily-kinesthetic intelligence in children: Implication for education and artistry. Holistic Education Review 5(2), 35-39.
Seitz, J. A. (2002). Mind, dance, and pedagogy. Journal of Aesthetic Education 36, 37-42.
Seitz, J. A. (2005). Dalcroze, the body, movement and musicality. Psychology of Music 33, 419-335.
Urista, D. J. (2001). Embodying music theory: Image schemas as sources for musical concepts and analysis, and as tools for expressive performance. Ph.D. dissertation, Columbia University, New York. Dissertations & Theses: A&I. (Publication No. AAT 3005810).
Urista, D. J. (2003). Beyond words: The moving body as a tool for musical understanding. Music Theory Online 9.