Chapter M: E. Sadler

RHYTHM AS A FACTOR IN EDUCATION

FROM THE FRENCH OF E. JAQUES-DALCROZE[1]

[1] First published in _Le Rhythme_ (Bâle) of December, 1909.

It is barely a hundred years since music ceased to be an aristocratic art cultivated by a few privileged individuals and became instead a subject of instruction for almost everybody without regard to talent or exceptional ability. Schools of Music, formerly frequented only by born musicians, gifted from birth with unusual powers of perception for sound and rhythm, to-day receive all who are fond of music, however little Nature may have endowed them with the necessary capacity for musical expression and realization. The number of solo players, both pianists and violinists, is constantly increasing, instrumental technique is being developed to an extraordinary degree, but everywhere, too, the question is being asked whether the quality of instrumental players is equal to their quantity, and whether the acquirement of extraordinary technique is likely to help musical progress when this technique is not joined to musical powers, if not of the first rank, at least normal.

Of ten certificated pianists of to-day, at the most one, if indeed one, is capable of recognizing one key from another, of improvising four bars with character or so as to give pleasure to the listener, of giving expression to a composition without the help of the more or less numerous annotations with which present day composers have to burden their work, of experiencing any feeling whatever when they listen to, or perform, the composition of another. The solo players of older days were without exception complete musicians, able to improvise and compose, artists driven irresistibly towards art by a noble thirst for aesthetic expression, whereas most young people who devote themselves nowadays to solo playing have the gifts neither of hearing nor of expression, are content to imitate the composer's expression without the power of feeling it, and have no other sensibility than that of the fingers, no other motor faculty than an automatism painfully acquired. Solo playing of the present day has specialized in a finger technique which takes no account of the faculty of mental expression. It is no longer a means, it has become an end.

As a rule, writing is only taught to children who have reached a thinking age, and we do not think of initiating them into the art of elocution until they have got something to say, until their powers of comprehension, analysis and feeling begin to show themselves. All modern educationalists are agreed that the first step in a child's education should be to teach him to know himself, to accustom him to life and to awaken in him sensations, feelings and emotions, before giving him the power of describing them. Likewise, in modern methods of teaching to draw, the pupil is taught to see objects before painting them. In music, unfortunately, the same rule does not hold. Young people are taught to play the compositions of Bach, Mozart, Beethoven, Chopin and Liszt, before their minds and ears can grasp these works, before they have developed the faculty of being moved by them.

There are two physical agents by means of which we appreciate music. These two agents are the ear as regards sound, and the whole nervous system as regards rhythm. Experience has shown me that the training of these two agents cannot easily be carried out simultaneously. A child finds it difficult to appreciate at the same time a succession of notes forming a melody and the rhythm which animates them.

Before teaching the relation which exists between sound and movement, it is wise to undertake the independent study of each of these two elements. Tone is evidently secondary, since it has not its origin and model in ourselves, whereas movement is instinctive in man and therefore primary. Therefore I begin the study of music by careful and experimental teaching of movement. This is based in earliest childhood on the automatic exercise of marching, for marching is the natural model of time measure.

By means of various accentuations with the foot, I teach the different time measures. Pauses (of varying lengths) in the marching teach the children to distinguish durations of sound; movements to time with the arms and the head preserve order in the succession of the time measures and analyse the bars and pauses.

All this, no doubt, seems very simple, and so I thought when beginning my experiments. Unfortunately, the latter have shown me that it is not so simple as it seems, but on the contrary very complicated. And this because most children have no instinct for time, for time values, for accentuation, for physical balance; because the motor faculties are not the same in all individuals, and because a number of obstacles impede the exact and rapid physical realization of mental conceptions. One child is always behind the beat when marching, another always ahead; another takes unequal steps, another on the contrary lacks balance. All these faults, if not corrected in the first years, will reappear later in the musical technique of the individual.

Unsteady time when singing or playing, confusion in playing, inability to follow when accompanying, accentuating too roughly or with lack of precision, all these faults have their origin in the child's muscular and nervous control, in lack of co-ordination between the mind which conceives, the brain which orders, the nerve which transmits and the muscle which executes. And still more, the power of phrasing and shading music with feeling depends equally upon the training of the nerve-centres, upon the co-ordination of the muscular system, upon rapid communication between brain and limbs--in a word, upon the health of the whole organism; and it is by trying to discover the individual cause of each musical defect, and to find a means of correcting it, that I have gradually built up my method of eurhythmics.

This method is entirely based upon experiments many times repeated, and not one of the exercises has been adopted until it has been applied under different forms and under different conditions and its usefulness definitely proved. Many people have a completely false idea of my system, and consider it is a simple variant on the methods of physical training at present in fashion, whose inventors have undoubtedly rendered great service to humanity.

I cannot help smiling when I read in certain papers, over names which carry weight, articles in which my method is compared to other gymnastic systems. The fact is, my book is simply a register of the different exercises which I have invented, and says nothing of my ideas in general, for it is written for those who have learnt to interpret my meaning under my personal tuition at Geneva and Hellerau.

Quite naturally, half the critics who have done me the honour of discussing the book, have only glanced through it and looked at the photographs. Not one of them has undergone the special training upon which I lay stress and without which I deny absolutely that any one has the right to pass a definite judgment on my meaning; for one does not learn to ride by reading a book on horsemanship, and eurhythmics are above all a matter of personal experience.

The object of the method is, in the first instance, to create by the help of rhythm a rapid and regular current of communication between brain and body; and what differentiates my physical exercises from those of present-day methods of muscular development is that each of them is conceived in the form which can most quickly establish in the brain the image of the movement studied.

It is a question of eliminating in every muscular movement, by the help of will, the untimely intervention of muscles useless for the movement in question, and thus developing attention, consciousness and will-power. Next must be created an automatic technique for all those muscular movements which do not need the help of the consciousness, so that the latter may be reserved for those forms of expression which are purely intelligent. Thanks to the co-ordination of the nerve-centres, to the formation and development of the greatest possible number of motor habits, my method assures the freest possible play to subconscious expression. The creation in the organism of a rapid and easy means of communication between thought and its means of expression by movements allows the personality free play, giving it character, strength and life to an extraordinary degree.

Neurasthenia is often nothing else than intellectual confusion produced by the inability of the nervous system to obtain from the muscular system regular obedience to the order from the brain. Training the nerve centres, establishing order in the organism, is the only remedy for intellectual perversion produced by lack of will power and by the incomplete subjection of body to mind. Unable to obtain physical realization of its ideas, the brain amuses itself in forming images without hope of realizing them, drops the real for the unreal, and substitutes vain and vague speculation for the free and healthy union of mind and body.

The first result of a thorough rhythmic training is that the pupil sees clearly in himself what he really is, and obtains from his powers all the advantage possible. This result seems to me one which should attract the attention of all educationalists and assure to education by and for rhythm an important place in general culture.

But, as an artist, I wish to add, that the second result of this education ought to be to put the completely developed faculties of the individual at the service of art and to give the latter the most subtle and complete of interpreters--the human body. For the body can become a marvellous instrument of beauty and harmony when it vibrates in tune with artistic imagination and collaborates with creative thought. It is not enough that, thanks to special exercises, students of music should have corrected their faults and be no longer in danger of spoiling their musical interpretations by their lack of physical skill and harmonious movements; it is necessary in addition that the music which lives within them--artists will understand me--should obtain free and complete development, and that the rhythms which inspire their personality should enter into intimate communion with those which animate the works to be interpreted.

The education of the nervous system must be of such a nature that the suggested rhythms of a work of art induce in the individual analogous vibrations, produce a powerful reaction in him and change naturally into rhythms of expression. In simpler language, the body must become capable of responding to artistic rhythms and of realizing them quite naturally without fear of exaggeration.

This faculty of emotion, indispensable to the artist, was formerly natural to almost all beginners in music, for hardly any but pre-destined artists devoted themselves to the art; but, if this is no longer the case, it is possible at least to awaken dulled faculties, to develop and co-ordinate them, and it is the duty of every musical educationalist to deter from instrumental technique every individual who is still without musical feeling.

The experimental study of rhythm should form a part of every well-organized musical education, and this study will be useful not only to musicians, but to music itself. It is quite certain that, if since Beethoven's time harmony has developed, if each generation has created fresh groupings of sounds, it is not the same regarding rhythmic forms, which remain much as they were.

I shall be told that the means of expression are of no importance so long as the artist is able to show his meaning, that a sincere emotion can be clearly expressed even with old-fashioned rhythms, and that to try and create new rhythms is mere technical work, and to enforce such upon the composers of to-morrow is simply depriving them of their character. This is all true, and I myself have a horror of seeking new means of expression within the limits of hard and fast rules, for expression ought to be a spontaneous manifestation. But I assert that experiments in rhythm, and the complete study of movements simple and combined, ought to create a fresh mentality, that artists thus trained will find inevitably and spontaneously new rhythmic forms to express their feelings, and that in consequence their characters will be able to develop more completely and with greater strength. It is a fact that very young children taught by my method invent quite naturally physical rhythms such as would have occurred to very few professional musicians, and that my most advanced pupils find monotonous many contemporary works the rhythmic poverty of which shocks neither public nor critics.

I will terminate this short sketch of my system by pointing out the intimate relations which exist between movements in time and movements in space, between rhythms in sound and rhythm in the body, between Music and Plastic Expression.

Gestures and attitudes of the body complete, animate and enliven any rhythmic music written simply and naturally without special regard to tone, and, just as in painting there exist side by side a school of the nude and a school of landscape, so in music there may be developed, side by side, plastic music and music pure and simple. In the school of landscape painting emotion is created entirely by combinations of moving light and by the rhythms thus caused. In the school of the nude, which pictures the many shades of expression of the human body, the artist tries to show the human soul as expressed by physical forms, enlivened by the emotions of the moment, and at the same time the characteristics suitable to the individual and his race, such as they appear through momentary physical modifications.

In the same way, plastic music will picture human feelings expressed by gesture and will model its sound forms on those of rhythms derived directly from expressive movements of the human body.

To compose the music which the Greeks appear to have realized, and for which Goethe and Schiller hoped, musicians must have acquired experience of physical movements; this, however, is certainly not the case to-day, for music has become beyond all others an intellectual art. While awaiting this transformation, present generations can apply education by and for rhythm to the interpretation of plastic stage music such as Richard Wagner has imagined. At the present day this music is not interpreted at all, for dramatic singers, stage managers and conductors do not understand the relation existing between gesture and music, and the absolute ignorance regarding plastic expression which characterizes the lyric actors of our day is a real profanation of scenic musical art. Not only are singers allowed to walk and gesticulate on the stage without paying any attention to the time, but also no shade of expression, dynamic or motor, of the orchestra--crescendo, decrescendo, accelerando, rallentando--finds in their gestures adequate realization. By this I mean the kind of wholly instinctive transformation of sound movements into bodily movements such as my method teaches.

Authors, poets, musicians and painters cannot demand from the interpreters of their works knowledge of the relations between movements in time and in space, for this knowledge can only be developed by special studies. No doubt a few poets and painters have an inborn knowledge of the rhythms of space; for instance, Hugo von Hofmannsthal, the stage mounter of "Electra" at the Vienna Opera, who constructed a huge staircase, on which, however, the actors, having little acquaintance with the most elementary notions of balance, moved with deplorable heaviness; or again, the aesthetician Adolphe Appia, whose remarkable work _Music and Stage Mounting_ ought to be the guide of all stage managers. But the majority of composers write their plastic music without knowing whether it is capable of being practically realized, without personal experience of the laws of weight, force and bodily movement.

My hope is, that sincere artists desirous of perfection and seeking progress will study seriously the grave question which I raise. For my own part, relying on many experiments, and full of confidence in ideas carefully thought out, I have devoted my life to the teaching of rhythm, being fully satisfied that, thanks to it, man will regain his natural powers of expression, and at the same time his full motor faculties, and that art has everything to hope from new generations brought up in the cult of harmony, of physical and mental health, of order, beauty and truth.

FROM THE LECTURES OF EMILE JAQUES-DALCROZE

(LECTURE AT LEIPZIG, DECEMBER 10, 1911)

The objection is often raised that under my system the technique of an instrument is acquired too late. But this objection has no foundation in fact. A child who begins rhythmic gymnastics as I would have it in its fifth or sixth year and a year later ear-training, can certainly have piano lessons when eight years old, and I can state from experience that the finger technique of the child will then develop much more quickly, for the musical faculties in general will have been far better developed, more thoroughly trained and become more part of the child's life owing to the preliminary training.

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Lessons in rhythmic gymnastics help children in their other lessons, for they develop the powers of observation, of analyzing, of understanding and of memory, thus making them more orderly and precise.

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The effect of rhythmic training on the time-table and life of a school is like that of a hot water heating system which spreads an equal warmth through all parts of a building. Teachers of other subjects will find that such training provides them with pupils more responsive, more elastic and of more character than they otherwise would be. Therefore, the study of rhythm, as well as education by means of rhythm, ought to be most closely connected with school life.

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(ADDRESS TO THE DRESDEN TEACHERS' ASSOCIATION, MAY 28, 1912)

From many years' experience of music teaching I have gradually produced a method which gives a child musical experiences instead of musical knowledge.

I expect much from education in rhythm in elementary schools, provided it be given regularly, completely and sufficiently. The exercises should be begun at the age of six, with half an hour's lesson three times a week, but these lessons can quite well be taken from playtime. By the age of twelve two lessons a week are sufficient. This training will not only develop the feeling for beauty and form by accustoming the eye to distinguish beautiful movements and lines from those that are ugly, but also render the children susceptible to musical impressions.

There are always children who are not able to sing in time, or even to beat time, to walk in time, or to graduate the strength and rapidity of their movements. Such children are unrhythmic, and it will generally be noticed that these children are stiff and awkward, often also over-excitable. This lack of rhythm is almost like a disease. It is caused by the lack of balance between the mental and physical powers, which results from insufficient co-ordination between the mental picture of a movement and its performance by the body, and these nervous troubles are just as much the cause as the result of such lack of harmony. In some cases the brain gives clear and definite impulses, but the limbs, in themselves healthy, can do nothing because the nervous system is in confusion. In other cases the limbs have lost the power to carry out orders sent by the brain, and the undischarged nerve-impulses disturb the whole nervous system. In other cases again, muscles and nerves are healthy, but insufficient training in rhythm impedes the formation of lasting rhythmic images in the brain. To repeat, the causes of this lack of rhythm all lie in the important but insufficiently recognized psycho-physiological sphere of the co-ordination of brain, nerve-paths and muscles.

The objection is sometimes made that rhythmic gymnastics cause nerve-strain in children. This is not the case. Several brain specialists have told me that they have effected satisfactory cures with rhythmic gymnastic exercises.

Rhythm is infinite, therefore the possibilities for physical representations of rhythm are infinite.

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(ADDRESS TO STUDENTS, _der Rhythmus_, Vol. I, p. 41, _et seq._)

I consider it unpardonable that in teaching the piano the whole attention should be given to the imitative faculties, and that the pupil should have no opportunity whatever of expressing his own musical impressions with the technical means which are taught him.

Whether the teacher himself be a genius is of little importance, provided he is able to help others to develop their own talents.

One can create nothing of lasting value without self-knowledge. The only living art is that which grows out of one's own experiences. It is just the same with teaching; it is quite impossible to develop others until one has proved one's own powers in every direction, until one has learnt to conquer oneself, to make oneself better, to suppress bad tendencies, to strengthen good ones, and, in the place of the primitive being, to make one more complete who, having consciously formed himself, knows his powers. Only in proportion as one develops oneself is one able to help others to develop.

I consider that one does not require to be a genius in order to teach others, but that one certainly does require strong conviction, enthusiasm, persistence and joy in life. All these qualities are equally derived from the control and knowledge of self.

We must, from youth upwards, learn that we are masters of our fate, that heredity is powerless if we realize that we can conquer it, that our future depends upon the victory which we gain over ourselves. However weak the individual may be, his help is required to prepare a way for a better future. Life and growth are one and the same, and it is our duty by the example of our lives to develop those who come after us. Let us therefore assume the responsibility which Nature puts upon us, and consider it our duty to regenerate ourselves; thus shall we help the growth of a more beautiful humanity.

I like joy, for it is life. I preach joy, for it alone gives the power of creating useful and lasting work. Amusement, an excitement which stimulates the nerves instead of uplifting the spirit, is not necessary in the life of the artist. Of course one must often let oneself go, and I should be the last to defend a so-called moral discipline, or a pedantic rule of monastic severity. For a healthy, active person the joy of the daily struggle and of work performed with enthusiasm should be sufficient to beautify life, drive away fatigue and illuminate present and future. This condition of joy is brought about in us by the feeling of freedom and responsibility, by the clear perception of the creative power in us, by the balance of our natural powers, by the harmonious rhythm between intention and deed. It depends upon our creative faculties, both natural and acquired, and becomes greater as these grow. The power of understanding ourselves certainly gives us a sense of freedom, for it opens a rapid correspondence, not only between imagination and power of performance, between apperception and feelings, but also between the various kinds of feelings which dwell in us.

THE JAQUES-DALCROZE METHOD