dalam beberapa cara kehidupan emile jaques.docx

8/14/2019 Dalam beberapa cara kehidupan Emile Jaques.docx

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Dalam beberapa cara kehidupan Emile Jaques - Dalcroze adalah paradoks a: dia dilahirkandi Vienna, tetapi dikaitkan dengan Geneva, dan dengan populariti beliau yang terbesardalam hidupnya timbul daripada kerja-kerja dalam Hellerau , Jerman; sebagai seorang lelakimuda dia bekerja sebagai pelakon dan dilatih di Francaise Comdie , tetapi dia wajardikenali sebagai komposer dan guru muzik ; dan nama yang mana beliau dikenali bukannama yang diberikan kepadanya ketika lahir.

Dalcroze dilahirkan Emile Jaques Henri di Vienna pada 6 Julai 1865. Bapanya adalahseorang lelaki perniagaan kelas pertengahan. Ibu Emile itu , Julie Jaques ; telah menjadiguru di sebuah sekolah Pestalozzi. Kerja ibunya sebagai seorang guru memberi pengaruhyang kuat pada awal idea Emile tentang pengajaran; pengajaran sendiri sudah tentubersetuju dengan kaedah Pestalozzi .

Johann Heinrich Pestalozzi (1746 - 1827) adalah seorang inovator pendidikan di Switzerlandlewat kelapan belas dan awal abad kesembilan belas. Pestalozzi percaya pendidikan kanak-kanak hendaklah terdiri daripada menyediakan kanak-kanak dengan peluang-peluang untukmembuat penemuan. ( Terutamanya Dalcroze percaya pengalaman yang harus mendahuluiteori dan kesimpulan. ) Walaupun Pestalozzi bukan seorang pemuzik (orang-orang yangrapat dengan beliau menulis bahawa beliau tidak dapat hum juga), beliau menggesabahawa sekolah-sekolah mempunyai ukuran kuat pendidikan muzik untuk meningkatkanumum suasana sekolah.

Pengenalan Emile untuk muzik bermula dengan pelajaran piano pada usia enam padatahun 1871. Keluarga berpindah ke Geneva , Switzerland ketika dia sepuluh. Di sana, beliaumenunjukkan minat dalam mengarang juga, menulis opera pertama beliau, "La Soubrette ,"pada usia enam belas pada tahun 1881.

Dalcroze memiliki akal yang aktif lucu sepanjang hidupnya. Dia menyokong penggunaankegembiraan sebagai alat pedagogi. Sebagai lelaki , beliau menunjukkan bakat beliau untuk

jenaka dan pranks . A sarkas dan raja Oriental kebetulan melawat Geneva pada masa yangsama apabila Emile masih remaja beliau. Emile tidak mempunyai wang untuk sarkas. Beliaumemperolehi hotel bergerak dan menulis nota untuk sarkas. Mereka mengharapkan esokpihak imperialis. Hari Emile depan dan kawan-kawannya muncul dalam jubah spontan danpakaian bercakap babi Latin. Kanak-kanak lelaki telah dibawa ke tempat duduk terbaik didalam rumah.

Sepanjang mudanya, Emile dipaparkan minat aktif dalam teater. Di sekolah, Emilemenyertai Belles - identiti , masyarakat pelajar. Beliau kerap muncul sebagai pelakon dalam

teater kelab itu. Sebagai sembilan belas tahun pada musim panas tahun 1884, Emilemenyertai sebuah syarikat saham tur dikendalikan oleh sepupunya. Beliau kemudian pergike Paris untuk belajar bertindak di Comdie Francaise dengan cerita sedih Denis-Stanislaws Talbot , pelawak Francois St Germain , dan Francois Jules Edmond Got . Jugasemasa di Paris, Emile menghadiri ceramah-ceramah yang diberikan oleh Dalsarte (yang ,kebetulan , seolah-olah telah menjadi bapa saudara Georges Bizet ).

Dalam tempoh ini, Emile juga melanjutkan pelajaran muzik dengan komposer dan guruMathis Lussy . Lussy telah dikaji dan ditulis dengan panjang lebar mengenai subjek iramamuzik. Banyak konsep yang diajar oleh Dalcroze mendapati asas mereka dalam kerja-kerja

Lussy .


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A SHORT BIOGRAPHY OF EMILE-JACQUEDELCROZE

In some ways the life of Emile Jaques-Dalcroze was a paradox: he was born in Vienna, but is associated with Geneva, and his greatest popularity in his lifetimearose from his work in Hellerau, Germany; as a young man he worked as anactor and trained at the Comedie Francaise, but he is justifiably known as acomposer and music teacher; and the name by which he is known was not thename given him at birth.

Dalcroze was born Emile Henri Jaques in Vienna on 6 July 1865. His father wasa middle- class business man. Emiles mother, Julie Jaques; had been a teacherin a Pestalozzi school. His mothers work as a teacher provided a strong earlyinfluence on Emiles ideas about teaching; his own teaching certainly agreedwit h Pestalozzis methods.

Johann Heinrich Pestalozzi (1746 1827) was a Swiss educational innovator inthe late eighteenth and early nineteenth centuries. Pestalozzi believed a childseducation should consist of providing the child with opportunities to makediscoveries. (Dalcroze particularly believed the experience should precede theoryand conclusions.) Although Pestalozzi was not a musician (those close to himwrote that he couldnt even hum well), he urged that schools feature a strongmeasure of music education to improve the general atmosphere of the school.

Emiles introduction to music commenced with piano lessons at age six in 1871.The family moved to Geneva, Switzerland when he was ten. There he showedinterest in composing as well, writing his first opera, "La Soubrette," at age

sixteen in 1881.

Dalcroze possessed an active sense of humor throughout his life. He espoused theuse of joy as a pedagogical tool. As a boy, he showed his flair for jokes andpranks. A circus and an Oriental monarch coincidentally visited Geneva at thesame time when Emile was in his teens. Emile had no money for the circus. Heobtained hotel stationary and wrote a note to the circus. They were to expect animperial party tomorrow. The next day Emile and his friends appeared inimprovised robes and costumes speaking pig Latin. The boys were ushered to thebest seats in the house.

Throughout his youth, Emile displayed an active interest in theatre. In school,Emile joined the Belles-Lettres, a student society. He regularly appeared as anactor in the clubs plays. As a nineteen -year-old in the summer of 1884, Emile

joined a touring stock company run by his cousin. He then traveled to Paris tostudy acting at the Comedie Francaise with tragedian Denis-Stanislaws Talbot,comedian Francois St. Germain, and Francois Jules Edmond Got. Also while inParis, Emile attended lectures given by Dalsarte (whom, incidentally, seems tohave been the uncle of Georges Bizet).

During this period, Emile also pursued music studies with composer and teacherMathis Lussy. Lussy had studied and written at length on the subject of musicalrhythm. Many of the concepts taught by Dalcroze found their basis in the work ofLussy.


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DALCROZE BIOGRAPHY -- Pt 2

The next major period of Emiles life was spen t in Algiers, working as assistantconductor and chorus master at a theatre. Kunman suggests that Emile was"very interested" in the native music and "notated much Arabian music." Spectoralso quotes Dalcroze from Souveniers, notes et critiques writing about theinfluence of Arabian drumming on the development of eurhythmics. Spector,though, also suggests that Emile did not make a serious study of Arabianrhythms.

Emile Henri Jaques also became known as Emile Jaques-Dalcroze during thisperiod from 1886 to 1888. The reasons for the name change have been variouslyreported in different sources. Nevertheless, Emile began to be known publicly asDalcroze even though friends and students affectionately called him "MonsieurJaques" throughout his life.

In 1892 Dalcroze returned to Geneva and began work as Professor of Harmony

at the Geneva Conservatory. Dalcroze found the students ill-prepared formusical expression despite a level of technical competence. This can be comparedto a situation in which people have a vocabulary of language and might be ableto read it, but can not express themselves fully. Dalcroze began to develop aseries of exercises to mitigate this lack of musicality in his students.

Supposedly Dalcroze experienced a moment of "Eureka!" in discovering thepossibilities of using whole body movement for music education. The story of thismoment of discovery has been reported in different versions.

Clarke relates the most common version of the story. In this version, Dalcrozewas perplexed with a particular student. The student seemed to possess a goodear and sense of phrasing, but was unable to play evenly in tempo. Luckily,Dalcroze happened to observe this same student walking in the street with aneven gait, giving no evidence of the alternately halting and hurrying movementof the students piano playing. Dalcroze discovered the student moved easily,relying upon the swing of his body.

In another version, Virginia Mead reports that, "One day, while staring out the

window and pondering his ideas, he was struck by the natural flow andanimated movement of a student walking across campus."

In his biography of Dalcroze, Spector reports the story of the moment of ofdiscovery as told him by Paul Boepple, an early Dalcroze disciple andeurhythmics teacher. According to this version Dalcroze met the problematicstudent at the train (local transit) station on his way to the Conservatory. It wasraining. The two men trotted toward the school. Dalcroze noticed the studentmatched his even gait. Dalcroze varied his gait to test if the student wouldautomatically synchronize movement with him. The student unconsciously

matched each of his teachers tempo changes. According to Spector, Dalcrozethus conceived the beneficial use of whole body movement to teach musicalrhythm.


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These stories may be apocryphal in nature. Nevertheless, there are salientfeatures common to each version.

Dalcroze did experience dissatisfaction with the inability of his harmonystudents to hear in their minds what they composed. He also chafed at technicaldisplays that contained little content. There is evidence that Dalcroze beganmaking detailed studies of human movement. Economy of motion held particular

interest for Dalcroze. He chiefly endeavored to understand the minimum workrequired to shift from one pose to another.

Dalcroze began to dispense with desks in his classes and required his students tomove. In one solfege class, he asked his students to move their desks away and tostand next to the piano and move as they sang. At the end of the class Dalcrozereportedly commented, "There is something to that." (The development ofadapting kinesthesia to solfege raised no questions for the Conservatorysadministration at this early point.)

Dalcroze began experimenting with fuller rhythmic training. He discovered heneeded other facilities. Therefore he requested a bigger room with full mirrorsand a changing room to allow students to change into their exercise costumesand to shower after class.

Dalcroze argued that clothing influences movement, and that a man in a loose jersey with bare feet will move with greater ease than a man in tight clothes andnarrow boots with high heels. Finally, the Conservatory administration foundthe removal of shoes and restrictive clothing shocking. (A quote typical of theage: "Surely no one would argue against these necessary articles of dress merelyon the grounds of inconvenience to the wearer.") The administration condemned

what they called "monkeyshines." Dalcroze mocked this attitude and wrote,"Simply that pure-minded people do not harbour impure thoughts, and that ifanyone is incited to evil thoughts by the sight of a naked leg, it is not the leg thatmust be blamed but rather his own mind, so ready to offer hospitality tounwholesome mental associations."

Consequently Dalcroze separated from the Conservatory and started his ownschool.

DALCROZE BIOGRAPHY Pt.3 and

BIBLIOGRAPHY

Dalcroze had started to present publicly his exercises locally in a limited form asearly as 1903. As he developed his method, Dalcroze traveled with his studentsto different locations and gave fuller demonstrations of his work. Thesedemonstrations always included some of the women students. Dalcrozepresented a major exhibition with his students in Solothurn in 1905.

Through these public demonstrations, Dalcroze attracted the attention ofGerman magnate Wolf Dohrn. Wealthy industrialists, Wolf (b. 1873) and hisbrother Harald (b. 1880) were the children of respected marine scientist AntonDohrn. The Dohrns wanted to establish a new city outside the environs ofDresden and asked Dalcroze to develop a program and teach in the news citys


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school. They began negotiating with Dalcroze in 1909. The brothers offered anattractive 10 year contract.

The establishment of Hellerau had been inspired by the Garden City movementinitiated by Ebenezer Howards influential book. Howard first published histreatise on city planning in 1898 as Tomorrow: A Peaceful Path to Real Reform .The book was re-issued in 1902 with slight revision as Garden Cities of

Tomorrow .The book describes the establishment of a proposed "Garden City" outside a"Central City." The "Garden City" would combine the best elements of town andcountry life. Its salient features would include the concept of maximumpopulation. That is, if the population of Garden City rose to a planned targetnumber, a second Garden City would be founded rather than expand theoriginal. The rent for the land (owned in common by the residents of the city)would go into a community fund. Howard also outlines the design of the city anddiscusses its financial arrangement in some detail. This book led to theestablishment of Lechworth in England as well as several communities in theUnited States.

The Dohrns developed the Hellerau community around a furniture factory.Dalcroze agreed to their offer to move his work to Hellerau, consulted with fellowSwiss innovator Adolphe Appia, and provided the Dohrns with plans for thetheatre in the new school.

Dalcroze started his first term at Hellerau with 115 students in attendance inmakeshift classrooms in Dresden. The students followed a schedule that startedthe morning with a series of three 50 minutes sessions with ten-minute breaks.

The sessions would cover rhythmic movement, solfege and piano improvisation.The afternoon included sessions devoted to individual instruction, choralrehearsals and ensemble rehearsals. The evenings might included a trip to theopera, concert, or recital in Dresden or a recital by the students or a lecture. Themorning sessions were seminal because, according to one student, "Eachmorning a single problem was approached from three different points of attack inthe three classes."

The period in Hellerau marked Dalcrozes close collaboration with Adolphe Appiaand Dalcrozes greatest fame as a pedagogue. As early as 1899, Appia had called

for "musical gymnastics" to train professional actors. Therefore, when Appiawitnessed a eurhythmics demonstration in 1906, he quickly contacted Dalcrozeby letter and started what came to be a productive friendship.

Appia believed the elements of dramatic art are "fixed." The poetry or "music" ofdrama is fixed in time. The painting/sculpture/architecture of the stage setting isfixed in space. Appia sought to link these two elements. Appia posed thequestion, "Do time and space possess some reconciling element?" His answerwas, "Movement mobility -- is the determining and conciliating principle . . . indramatic art." That is to say, in movement, various lengths or timings of soundsare realized in space.

For special summer activity, Dalcroze and Appia collaborated on the productionof opera selections as part of festivals arranged by the Dohrns for the workersand to display the town to guests. In 1912 the student presented the second actof Glucks Orfeo et Euridice and Dalcrozes own version of Echo et Narcisse . The


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next summer, in 1913, the students presented a complete performance of Orfeo .The festival and the performance attracted thousands of people to Hellerau.Numerous luminaries in music and theatre came to see the performance. Inparticular, Hellerau attracted the attention of Prince Sergei Wolkonsky,Superintendent of Russias Imperial theatres and Susan Canfield, a musicteacher from the U.S.A. (These two visitors in particular were influential inbringing eurhythmics to their respective countries.)

The artistic promise of Hellerau quickly faded in 1914. Wolf Dohrn, the elder andleader of the brothers, died in a skiing accident in February of 1914. Also in thespring of 1914, Dalcroze returned to Geneva with Annie Beck and other seniorstudents to work on a pageant, Fete de Juin , scheduled for the summer inSwitzerland. By late June Archduke Ferdinand had been shot and World War Ibegan. Dalcroze and Harald Dohrn endeavored for a time to restore the Hellerauschool, but the attempts never came to fruition. Dalcroze never returned toHellerau.

Dalcroze worked largely in Geneva after leaving Hellearu. Over the years,Dalcroze devoted his time and energy to the development of his teachingmethods. Dalcrozes work as a teacher and composer also ea rned him a numberof awards and honors. In 1925 Dalcroze became the 70 th recipient of thebourgeois dhonneur of Geneva, an important civic award, on 21 November 1925.In 1929 the government of France presented Dalcroze the title of "Officer ofPublic Instruction" and the medal of the Legion of Honor. The city of Geneva alsoawarded Dalcroze with a cash prize in 1947, honoring his outstanding work inmusic. In that same year, Dalcroze gained an honorary Ph.D. from the universityof Clermont-Ferrand in France. Dalcroze died in Geneva early in the morning on1 July 1950, a few days before his 85 th birthday.

BIBLIOGRAPHY

Abramson, Robert, Lois Choksky, Avon Gillsepie, and David Woods.TeachingMusic in the Twentieth Century. Englewood Cliffs, NJ: Prentice-Hall, 1986.

Appia, Adolphe. The Work of Living Art. Coral Gables, FL: U of Miami Press,1962.

Beachum, Richard C. Adolphe Appia: Theatre Artist. Cambridge: Cambridge U

Press, 1987.

Clarke, Urana. "Dalcroze: Rhythm in a Chain Reaction." Musical America. 70.13(1950): 25.

Harvey, John. Ed. The Eurhythmics of Jaques-Dalcroze. London: Constable&Co., 1920.

Hazen, Charles. Fifty Years of Europe: 1870 1919. New York: Henry Holt,1919.

Jaques-Dalcroze, Emile. Eurhythmics: Art and Education. Salem, N.H.: AyerCo., 1930.

Kunmann, Christine. "The Pedagogy of Emile Jaques-Dalcroze." Thesis. U ofMichigan, 1968.


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Mead, Virginia Hodge. Dalcroze Eurhythmics in Todays Classroom . New York:Schott Music, 1994.

Meakin, Budgett. Model Factories and Villages: Ideal Conditions of Labour andHousing. London T. Fisher Unwin, 1905.

Odom, Selma Landen. "Bildunsanstalt Jaques-Dalcroze: Portrait of an

Institution." Thesis. Tufts U, 1967.

Rainbow, Bernarr. Music in Educational Thought and Practice: A Survey from800 BC. Aberystwyth, Wales: Boethius Press, 1989.

Spector, Irwin. Rhythm and Life: the Work of Emile Jaques-Dalcroze.Stuyvesant, NY: Pendragon Press, 1990.

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