,transcriber's ,note3     ,a ,short     
,greek phrase has been transliterated   
and delimited     with ''4      ,short  
musical phrases are marked as ,music4   
,illustration3 ,emile ,jaques-,dalcroze4
                    ,,the ,,eurhythmics 
,,of ,,jaques-,,dalcroze                
,introduction by     ,professor ,m4 ,e4 
,sadler1 ,,ll4,d4 7,columbia7           
,vice-,chancellor of the ,university of 
,leeds                       ,,boston   
,,small ,,maynard ,,and ,,company       
#aiae              ,printed in ,great   
,britain         ,pas gar ho bios tou   
anthropou eurythmias te kai             
euarmostias deitai4  ,rhythmische       
,gymnastik is the name by which the     
,dalcroze method is known in ,germany1  
but whether or not the ,german words are
 adequate1 their literal translation    
into ,english certainly gives too narrow
 an idea of the scope of the system to  
any one unacquainted with it4           
,rhythmical gymnastics1 in the natural  
meaning of the word1 is a part of the   

,dalcroze training1 and a not           
unimportant part1 but it is only one    
application of a much wider principle2  
and accordingly1 where the term occurs  
in the following pages1 it must be      
understood simply as denoting a         
particular mode of physical drill4 ,but 
for the principle itself and the total  
method embodying it1 another name is    
needed1 and the term ,eurhythmics has   
been here coined for the purpose4 ,the  
originality of the ,dalcroze method1 the
 fact that it is a discovery1 gives it a
 right to a name of its own3 it is      
because it is in a sense also the       
rediscovery of an old secret that a name
 has been chosen of such plain reference
 and derivation4 ,plato1 in the words   
quoted above1 has said that the whole of
 a man's life stands in need of a right 
rhythm3 and it is natural to see some   
kinship between this ,platonic attitude 
and the claim of ,dalcroze that his     
discovery is not a mere refinement of   
dancing1 nor an improved method of      

music-teaching1 but a principle that    
must have effect upon every part of     
life4  ,,john ,w4 ,,harvey4   ,,contents
    ,,note3 ,john ,w4 ,harvey           
#e    ,,the ,,educational ,,significance
 ,,of     ,,hellerau3 ,prof4 ,m4 ,e4    
,sadler                                 
#aa    ,,rhythm ,,as ,a ,,factor ,,in   
,,education3 ,emile ,jaques-,dalcroze   
#ae   ,,from ,,lectures ,,and           
,,addresses3     ,translated by ,p4  ,e4
 ,ingham    #bf    ,,the ,,method3      
,,growth ,,and ,,practice3 ,percy ,b4   
,ingham                  #ca            
,,lessons ,,at ,,hellerau3 ,ethel       
,ingham                                 
#dh    ,,life ,,at ,,hellerau3 ,ethel   
,ingham                                 
#ee    ,,the ,,value ,,of ,,eurhythmics 
,,to ,,art3 ,m4 ,t4 ,h4 ,sadler4        
#fj   ,,list ,,of ,,illustrations       
,emile ,jaques-,dalcroze                
,frontispiece    ,the ,college3 from the
 ,east                          ,facing 
page #ae    ,the ,college3 ,front       

#bf    ,the ,college3 ,general ,view    
from the ,south-,east                   
#ca    ,beating #d_/d                   
,movements for the ,semibreve           
,between pages #cf and #cg    ,beating  
#e_/d in ,canon without ,expression     
,beating #e_/d in ,canon with           
,expression                             
#dd  #de    ,the ,air ,bath             
,the ,college3 ,entrance ,hall          
#dh  #di    ,the ,college3 ,classrooms  
,the ,college3 ,interiors               
#eb  #ec    ,the ,hostel3 ,interiors    
,facing page            #ee    ,the     
,hostel3 ,general ,view                 
page                   #eg    ,dresden  
from ,hellerau                          
,facing page            #ei    ,a       
,plastic ,exercise                      
#fj    ,a ,plastic ,exercise            
#fd     ,,the ,,educational             
,,significance ,,of ,,hellerau   ,at    
,hellerau two things make an            
ineffaceable impression upon the        
mind--the exquisite beauty of movement1 

of gesture and of grouping seen in the  
exercises2 and the nearness of a great  
force1 fundamental to the arts and      
expressing itself in the rhythm to which
 they attain4 ,jaques-,dalcroze has     
re-opened a door which has long been    
closed4 ,he has rediscovered one of the 
secrets of ,greek education4  ,a hundred
 years ago ,wilhelm von ,humboldt       
endeavoured to make ,greek ideals the   
paramount influence in the higher       
schools of ,germany4 ,he and a group of 
friends had long felt indignant at the  
utilitarianism and shallowness of the   
work of the schools4 ,in ,greek         
literature1 ,greek philosophy and ,greek
 art would be found a means of kindling 
new life in education and of giving it  
the power of building up strong and     
independent personalities4 ,when there  
came to ,humboldt the unexpected        
opportunity of reforming the secondary  
schools of ,prussia1 he so remodelled   
the course of study as to secure for    
,greek thought and letters a place      

which1 if not central and determinative1
 would at least bring the lite of the   
younger generation in some measure under
 their influence4 ,but his              
administrative orders failed to impart  
to the schools the spirit of ancient    
,greece4 ,to ,humboldt and his friends  
,greek studies had been an inspiration  
because1 apart from their intellectual  
significance and literary form1 those   
studies had been the channel of an      
artistic impulse and had been entered   
into as art4 ,but this artistic power   
was not felt by the greater number of   
those who undertook1 in obedience to the
 new regulations1 the duty of teaching  
,greek in the schools4 ,what was left in
 ,greek studies after this failure of   
artistic insight was often no more than 
another form of purely intellectual     
discipline4 ,a new subject had been     
added to the curriculum1 but new life   
had not been brought into the schools4  
,the very name1 ,gymnasium1 which       
denoted their ,hellenic purpose1 seemed 

ironical4 ,they were not ,greek in      
spirit and they ignored the training of 
the body4 ,thus what ,wilhelm von       
,humboldt had chiefly aimed at          
accomplishing1 he failed to do4 ,it was 
not the power of ,greek art that he     
brought into the schools but1 in most   
cases1 merely the philological study of 
a second dead language4 ,the cause of   
his failure was that he had not         
discovered the educational method which 
could effectually secure his purpose4   
,he had assumed that1 in order to       
introduce the ,greek spirit into        
education1 it was sufficient to insist  
upon the linguistic and literary study  
of ,greek4  ,in time1 attempts were made
 to remedy what was defective in        
,humboldt's plan by insisting upon      
physical exercises as an obligatory part
 of education in the higher schools4    
,but the physical exercises thus        
introduced1 though salutary in          
themselves1 were divorced from the      
artistic influences of the ,greek       

gymnastic4 ,humboldt's chief aim had    
been forgotten4 ,his system of          
organization had rooted itself1 but his 
educational ideal1 to which he attached 
far greater importance than to          
administrative regulation1 was ignored4 
,in later years1 though such            
,neo-,hellenism as ,humboldt's had long 
gone out of fashion1 the weakness of the
 higher schools on the side of artistic 
training was recognized4 ,but a         
corrective for this was sought in       
instruction about art1 not 7except so   
far as a little teaching of drawing     
went7 in the practice of an art4 ,an    
attempt was made to cultivate aesthetic 
appreciation by lessons which imparted  
knowledge but did not attempt to train  
the power of artistic production--an aim
 which was regarded as unrealizable1    
except in vocal music1 and of course    
through literary composition1 in a      
secondary school4 ,thus ,humboldt's     
original purpose has been almost wholly 
unachieved4 ,the schools1 admirably     

organized on the intellectual side and1 
within certain limits1 increasingly     
efficient in their physical training1   
are1 as a rule1 lacking in the influence
 of art1 as indeed in most cases are the
 corresponding schools in other         
countries4 ,the spring of artistic      
training has not been touched4 ,the     
divorce between intellectual discipline 
and artistic influence 7except indeed so
 far as the latter is operative through 
the study of literature1 through a      
little drawing1 and through vocal music7
 is complete4 ,this defect is felt even 
more keenly in ,germany than in         
,england1 because in the ,german schools
 the intellectual pressure is more      
severe1 and the schools do less for the 
cultivation of those interests which lie
 outside the limits of regular          
class-room work4  ,wilhelm von ,humboldt
 gave little direct attention to the    
work of the elementary schools4 ,his    
chief concern was with higher education4
 ,but in the elementary schools also1   

except in so far as they gave much care 
to vocal music1 the course of training  
failed to make use of the educative     
power of art4 ,a conviction that there  
is an error has led in ,germany1 as in  
,england and ,america1 to an increased  
attention to drawing and to attempts to 
interest children in good pictures4 ,but
 there is still 7except in the case of  
vocal music and a little drawing7 an    
unbridged gap between the intellectual  
and the artistic work of the schools4   
,jaques-,dalcroze's experience suggests 
the possibility of a much closer        
combination of these two elements1 both 
in elementary and in secondary          
education4 ,his teaching requires from  
the pupils a sustained and careful      
attention1 is in short a severe 7though 
not exhausting7 intellectual exercise2  
while at the same time it trains the    
sense of form and rhythm1 the capacity  
to analyse musical structure1 and the   
power of expressing rhythm through      
harmonious movement4 ,it is thus a      

synthesis of educational influence1     
artistic and intellectual4 ,its         
educational value for young children1   
its applicability to their needs1 the   
pleasure which they take in the         
exercises1 have been conclusively       
proved4 ,and in the possibility of this 
widely extended use of the method lies  
perhaps the chief1 though far indeed    
from the only1 educational significance 
of what is now being done at ,hellerau4 
,m4 ,e4 ,,sadler4      ,illustration3   
,the ,college4     ,,rhythm ,,as ,a     
,,factor ,,in ,,education  ,,from ,,the 
,,french ,,of ,e4 ,,jaques-,,dalcroze#a 
#a ,first published in ,le ,rhythme     
7,ble7 of ,december1 #aiji4   ,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 
ability4 ,schools of ,music1 formerly   
frequented only by born musicians1      

gifted from birth with unusual powers of
 perception for sound and rhythm1 to-day
 receive all who are fond of music1     
however little ,nature may have endowed 
them with the necessary capacity for    
musical expression and realization4 ,the
 number of solo players1 both pianists  
and violinists1 is constantly           
increasing1 instrumental technique is   
being developed to an extraordinary     
degree1 but everywhere1 too1 the        
question is being asked whether the     
quality of instrumental players is equal
 to their quantity1 and whether the     
acquirement of extraordinary technique  
is likely to help musical progress when 
this technique is not joined to musical 
powers1 if not of the first rank1 at    
least normal4  ,of ten certificated     
pianists of to-day1 at the most one1 if 
indeed one1 is capable of recognizing   
one key from another1 of improvising    
four bars with character or so as to    
give pleasure to the listener1 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 work1 of 
experiencing any feeling whatever when  
they listen to1 or perform1 the         
composition of another4 ,the solo       
players of older days were without      
exception complete musicians1 able to   
improvise and compose1 artists driven   
irresistibly towards art by a noble     
thirst for aesthetic expression1 whereas
 most young people who devote themselves
 nowadays to solo playing have the gifts
 neither of hearing nor of expression1  
are content to imitate the composer's   
expression without the power of feeling 
it1 and have no other sensibility than  
that of the fingers1 no other motor     
faculty than an automatism painfully    
acquired4 ,solo playing of the present  
day has specialized in a finger         
technique which takes no account of the 
faculty of mental expression4 ,it is no 
longer a means1 it has become an end4   
,as a rule1 writing is only taught to   

children who have reached a thinking    
age1 and we do not think of initiating  
them into the art of elocution until    
they have got something to say1 until   
their powers of comprehension1 analysis 
and feeling begin to show themselves4   
,all modern educationalists are agreed  
that the first step in a child's        
education should be to teach him to know
 himself1 to accustom him to life and to
 awaken in him sensations1 feelings and 
emotions1 before giving him the power of
 describing them4 ,likewise1 in modern  
methods of teaching to draw1 the pupil  
is taught to see objects before painting
 them4 ,in music1 unfortunately1 the    
same rule does not hold4 ,young people  
are taught to play the compositions of  
,bach1 ,mozart1 ,beethoven1 ,chopin and 
,liszt1 before their minds and ears can 
grasp these works1 before they have     
developed the faculty of being moved by 
them4  ,there are two physical agents by
 means of which we appreciate music4    
,these two agents are the ear as regards

 sound1 and the whole nervous system as 
regards rhythm4 ,experience has shown me
 that the training of these two agents  
cannot easily be carried out            
simultaneously4 ,a child finds it       
difficult to appreciate at the same time
 a succession of notes forming a melody 
and the rhythm which animates them4     
,before teaching the relation which     
exists between sound and movement1 it is
 wise to undertake the independent study
 of each of these two elements4 ,tone is
 evidently secondary1 since it has not  
its origin and model in ourselves1      
whereas movement is instinctive in man  
and therefore primary4 ,therefore ,i    
begin the study of music by careful and 
experimental teaching of movement4 ,this
 is based in earliest childhood on the  
automatic exercise of marching1 for     
marching is the natural model of time   
measure4  ,by means of various          
accentuations with the foot1 ,i teach   
the different time measures4 ,pauses 7of
 varying lengths7 in the marching teach 

the children to distinguish durations of
 sound2 movements to time with the arms 
and the head preserve order in the      
succession of the time measures and     
analyse the bars and pauses4  ,all this1
 no doubt1 seems very simple1 and so ,i 
thought when beginning my experiments4  
,unfortunately1 the latter have shown me
 that it is not so simple as it seems1  
but on the contrary very complicated4   
,and this because most children have no 
instinct for time1 for time values1 for 
accentuation1 for physical balance2     
because the motor faculties are not the 
same in all individuals1 and because a  
number of obstacles impede the exact and
 rapid physical realization of mental   
conceptions4 ,one child is always behind
 the beat when marching1 another always 
ahead2 another takes unequal steps1     
another on the contrary lacks balance4  
,all these faults1 if not corrected in  
the first years1 will reappear later in 
the musical technique of the individual4
  ,unsteady time when singing or        

playing1 confusion in playing1 inability
 to follow when accompanying1           
accentuating too roughly or with lack of
 precision1 all these faults have their 
origin in the child's muscular and      
nervous control1 in lack of             
co-ordination between the mind which    
conceives1 the brain which orders1 the  
nerve which transmits and the muscle    
which executes4 ,and still more1 the    
power of phrasing and shading music with
 feeling depends equally upon the       
training of the nerve-centres1 upon the 
co-ordination of the muscular system1   
upon rapid communication between brain  
and limbs--in a word1 upon the health of
 the whole organism2 and it is by trying
 to discover the individual cause of    
each musical defect1 and to find a means
 of correcting it1 that ,i have         
gradually built up my method of         
eurhythmics4  ,this method is entirely  
based upon experiments many times       
repeated1 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 proved4 ,many people have a  
completely false idea of my system1 and 
consider it is a simple variant on the  
methods of physical training at present 
in fashion1 whose inventors have        
undoubtedly rendered great service to   
humanity4  ,i cannot help smiling when  
,i read in certain papers1 over names   
which carry weight1 articles in which my
 method is compared to other gymnastic  
systems4 ,the fact is1 my book is simply
 a register of the different exercises  
which ,i have invented1 and says nothing
 of my ideas in general1 for it is      
written for those who have learnt to    
interpret my meaning under my personal  
tuition at ,geneva and ,hellerau4       
,quite naturally1 half the critics who  
have done me the honour of discussing   
the book1 have only glanced through it  
and looked at the photographs4 ,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 meaning2 for one does   
not learn to ride by reading a book on  
horsemanship1 and eurhythmics are above 
all a matter of personal experience4    
,the object of the method is1 in the    
first instance1 to create by the help of
 rhythm a rapid and regular current of  
communication between brain and body2   
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 studied4
  ,it is a question of eliminating in   
every muscular movement1 by the help of 
will1 the untimely intervention of      
muscles useless for the movement in     
question1 and thus developing attention1
 consciousness and will-power4 ,next    
must be created an automatic technique  
for all those muscular movements which  
do not need the help of the             

consciousness1 so that the latter may be
 reserved for those forms of expression 
which are purely intelligent4 ,thanks to
 the co-ordination of the nerve-centres1
 to the formation and development of the
 greatest possible number of motor      
habits1 my method assures the freest    
possible play to subconscious           
expression4 ,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 play1 giving it    
character1 strength and life to an      
extraordinary degree4  ,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 brain4 ,training the    
nerve centres1 establishing order in the
 organism1 is the only remedy for       
intellectual perversion produced by lack
 of will power and by the incomplete    
subjection of body to mind4 ,unable to  

obtain physical realization of its      
ideas1 the brain amuses itself in       
forming images without hope of realizing
 them1 drops the real for the unreal1   
and substitutes vain and vague          
speculation for the free and healthy    
union of mind and body4  ,the first     
result of a thorough rhythmic training  
is that the pupil sees clearly in       
himself what he really is1 and obtains  
from his powers all the advantage       
possible4 ,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 culture4  ,but1 as an 
artist1 ,i wish to add1 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 
body4 ,for the body can become a        
marvellous instrument of beauty and     
harmony when it vibrates in tune with   

artistic imagination and collaborates   
with creative thought4 ,it is not enough
 that1 thanks to special exercises1     
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 movements2
 it is necessary in addition that the   
music which lives within them--artists  
will understand me--should obtain free  
and complete development1 and that the  
rhythms which inspire their personality 
should enter into intimate communion    
with those which animate the works to be
 interpreted4  ,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  
vibrations1 produce a powerful reaction 
in him and change naturally into rhythms
 of expression4 ,in simpler language1   
the body must become capable of         
responding to artistic rhythms and of   
realizing them quite naturally without  

fear of exaggeration4  ,this faculty of 
emotion1 indispensable to the artist1   
was formerly natural to almost all      
beginners in music1 for hardly any but  
pre-destined artists devoted themselves 
to the art2 but1 if this is no longer   
the case1 it is possible at least to    
awaken dulled faculties1 to develop and 
co-ordinate them1 and it is the duty of 
every musical educationalist to deter   
from instrumental technique every       
individual who is still without musical 
feeling4  ,the experimental study of    
rhythm should form a part of every      
well-organized musical education1 and   
this study will be useful not only to   
musicians1 but to music itself4 ,it is  
quite certain that1 if since            
,beethoven's time harmony has developed1
 if each generation has created fresh   
groupings of sounds1 it is not the same 
regarding rhythmic forms1 which remain  
much as they were4  ,i shall be told    
that the means of expression are of no  
importance so long as the artist is able

 to show his meaning1 that a sincere    
emotion can be clearly expressed even   
with old-fashioned rhythms1 and that to 
try and create new rhythms is mere      
technical work1 and to enforce such upon
 the composers of to-morrow is simply   
depriving them of their character4 ,this
 is all true1 and ,i myself have a      
horror of seeking new means of          
expression within the limits of hard and
 fast rules1 for expression ought to be 
a spontaneous manifestation4 ,but ,i    
assert that experiments in rhythm1 and  
the complete study of movements simple  
and combined1 ought to create a fresh   
mentality1 that artists thus trained    
will find inevitably and spontaneously  
new rhythmic forms to express their     
feelings1 and that in consequence their 
characters will be able to develop more 
completely and with greater strength4   
,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 

musicians1 and that my most advanced    
pupils find monotonous many contemporary
 works the rhythmic poverty of which    
shocks neither public nor critics4  ,i  
will terminate this short sketch of my  
system by pointing out the intimate     
relations which exist between movements 
in time and movements in space1 between 
rhythms in sound and rhythm in the body1
 between ,music and ,plastic            
,expression4  ,gestures and attitudes of
 the body complete1 animate and enliven 
any rhythmic music written simply and   
naturally without special regard to     
tone1 and1 just as in painting there    
exist side by side a school of the nude 
and a school of landscape1 so in music  
there may be developed1 side by side1   
plastic music and music pure and simple4
 ,in the school of landscape painting   
emotion is created entirely by          
combinations of moving light and by the 
rhythms thus caused4 ,in the school of  
the nude1 which pictures the many shades
 of expression of the human body1 the   

artist tries to show the human soul as  
expressed by physical forms1 enlivened  
by the emotions of the moment1 and at   
the same time the characteristics       
suitable to the individual and his race1
 such as they appear through momentary  
physical modifications4  ,in the same   
way1 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 body4  ,to      
compose the music which the ,greeks     
appear to have realized1 and for which  
,goethe and ,schiller hoped1 musicians  
must have acquired experience of        
physical movements2 this1 however1 is   
certainly not the case to-day1 for music
 has become beyond all others an        
intellectual art4 ,while awaiting this  
transformation1 present generations can 
apply education by and for rhythm to the
 interpretation of plastic stage music  
such as ,richard ,wagner has imagined4  
,at the present day this music is not   

interpreted at all1 for dramatic        
singers1 stage managers and conductors  
do not understand the relation existing 
between gesture and music1 and the      
absolute ignorance regarding plastic    
expression which characterizes the lyric
 actors of our day is a real profanation
 of scenic musical art4 ,not only are   
singers allowed to walk and gesticulate 
on the stage without paying any         
attention to the time1 but also no shade
 of expression1 dynamic or motor1 of the
 orchestra--crescendo1 decrescendo1     
accelerando1 rallentando--finds in their
 gestures adequate realization4 ,by this
 ,i mean the kind of wholly instinctive 
transformation of sound movements into  
bodily movements such as my method      
teaches4  ,authors1 poets1 musicians and
 painters cannot demand from the        
interpreters of their works knowledge of
 the relations between movements in time
 and in space1 for this knowledge can   
only be developed by special studies4   
,no doubt a few poets and painters have 

an inborn knowledge of the rhythms of   
space2 for instance1 ,hugo von          
,hofmannsthal1 the stage mounter of     
,electra at the ,vienna ,opera1 who     
constructed a huge staircase1 on which1 
however1 the actors1 having little      
acquaintance with the most elementary   
notions of balance1 moved with          
deplorable heaviness2 or again1 the     
aesthetician ,adolphe ,appia1 whose     
remarkable work ,music and ,stage       
,mounting ought to be the guide of all  
stage managers4 ,but the majority of    
composers write their plastic music     
without knowing whether it is capable of
 being practically realized1 without    
personal experience of the laws of      
weight1 force and bodily movement4  ,my 
hope is1 that sincere artists desirous  
of perfection and seeking progress will 
study seriously the grave question which
 ,i raise4 ,for my own part1 relying on 
many experiments1 and full of confidence
 in ideas carefully thought out1 ,i have
 devoted my life to the teaching of     

rhythm1 being fully satisfied that1     
thanks to it1 man will regain his       
natural powers of expression1 and at the
 same time his full motor faculties1 and
 that art has everything to hope from   
new generations brought up in the cult  
of harmony1 of physical and mental      
health1 of order1 beauty and truth4     
,,from ,,the ,,lectures ,,of ,,emile    
,,jaques-,,dalcroze  7,,lecture ,,at    
,,leipzig1 ,,december #aj1 #aiaa7   ,the
 objection is often raised that under my
 system the technique of an instrument  
is acquired too late4 ,but this         
objection has no foundation in fact4 ,a 
child who begins rhythmic gymnastics as 
,i would have it in its fifth or sixth  
year and a year later ear-training1 can 
certainly have piano lessons when eight 
years old1 and ,i can state from        
experience that the finger technique of 
the child will then develop much more   
quickly1 for the musical faculties in   
general will have been far better       
developed1 more thoroughly trained and  

become more part of the child's life    
owing to the preliminary training4      
99       99       99       99       99  
,lessons in rhythmic gymnastics help    
children in their other lessons1 for    
they develop the powers of observation1 
of analyzing1 of understanding and of   
memory1 thus making them more orderly   
and precise4         99       99        
99       99       99  ,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     
building4 ,teachers of other subjects   
will find that such training provides   
them with pupils more responsive1 more  
elastic and of more character than they 
otherwise would be4 ,therefore1 the     
study of rhythm1 as well as education by
 means of rhythm1 ought to be most      
closely connected with school life4     
,illustration3 ,the ,college4         99
       99       99       99       99    
7,,address ,,to ,,the ,,dresden         

,,teachers' ,,association1 ,,may #bh1   
#aiab7  ,from many years' experience of 
music teaching ,i have gradually        
produced a method which gives a child   
musical experiences instead of musical  
knowledge4  ,i expect much from         
education in rhythm in elementary       
schools1 provided it be given regularly1
 completely and sufficiently4 ,the      
exercises should be begun at the age of 
six1 with half an hour's lesson three   
times a week1 but these lessons can     
quite well be taken from playtime4 ,by  
the age of twelve two lessons a week are
 sufficient4 ,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 ugly1 but also
 render the children susceptible to     
musical impressions4  ,there are always 
children who are not able to sing in    
time1 or even to beat time1 to walk in  
time1 or to graduate the strength and   
rapidity of their movements4 ,such      

children are unrhythmic1 and it will    
generally be noticed that these children
 are stiff and awkward1 often also      
over-excitable4 ,this lack of rhythm is 
almost like a disease4 ,it is caused by 
the lack of balance between the mental  
and physical powers1 which results from 
insufficient co-ordination between the  
mental picture of a movement and its    
performance by the body1 and these      
nervous troubles are just as much the   
cause as the result of such lack of     
harmony4 ,in some cases the brain gives 
clear and definite impulses1 but the    
limbs1 in themselves healthy1 can do    
nothing because the nervous system is in
 confusion4 ,in other cases the limbs   
have lost the power to carry out orders 
sent by the brain1 and the undischarged 
nerve-impulses disturb the whole nervous
 system4 ,in other cases again1 muscles 
and nerves are healthy1 but insufficient
 training in rhythm impedes the         
formation of lasting rhythmic images in 
the brain4 ,to repeat1 the causes of    

this lack of rhythm all lie in the      
important but insufficiently recognized 
psycho-physiological sphere of the      
co-ordination of brain1 nerve-paths and 
muscles4  ,the objection is sometimes   
made that rhythmic gymnastics cause     
nerve-strain in children4 ,this is not  
the case4 ,several brain specialists    
have told me that they have effected    
satisfactory cures with rhythmic        
gymnastic exercises4  ,rhythm is        
infinite1 therefore the possibilities   
for physical representations of rhythm  
are infinite4         99       99       
99       99       99  7,,address ,,to   
,,students1 der ,rhythmus1 ,vol4 ,i1 p4 
#da1 et seq47  ,i consider it           
unpardonable that in teaching the piano 
the whole attention should be given to  
the imitative faculties1 and that the   
pupil should have no opportunity        
whatever of expressing his own musical  
impressions with the technical means    
which are taught him4  ,whether the     
teacher himself be a genius is of little

 importance1 provided he is able to help
 others to develop their own talents4   
,one can create nothing of lasting value
 without self-knowledge4 ,the only      
living art is that which grows out of   
one's own experiences4 ,it is just the  
same with teaching2 it is quite         
impossible to develop others until one  
has proved one's own powers in every    
direction1 until one has learnt to      
conquer oneself1 to make oneself better1
 to suppress bad tendencies1 to         
strengthen good ones1 and1 in the place 
of the primitive being1 to make one more
 complete who1 having consciously formed
 himself1 knows his powers4 ,only in    
proportion as one develops oneself is   
one able to help others to develop4  ,i 
consider that one does not require to be
 a genius in order to teach others1 but 
that one certainly does require strong  
conviction1 enthusiasm1 persistence and 
joy in life4 ,all these qualities are   
equally derived from the control and    
knowledge of self4  ,we must1 from youth

 upwards1 learn that we are masters of  
our fate1 that heredity is powerless if 
we realize that we can conquer it1 that 
our future depends upon the victory     
which we gain over ourselves4 ,however  
weak the individual may be1 his help is 
required to prepare a way for a better  
future4 ,life and growth are one and the
 same1 and it is our duty by the example
 of our lives to develop those who come 
after us4 ,let us therefore assume the  
responsibility which ,nature puts upon  
us1 and consider it our duty to         
regenerate ourselves2 thus shall we help
 the growth of a more beautiful         
humanity4  ,i like joy1 for it is life4 
,i preach joy1 for it alone gives the   
power of creating useful and lasting    
work4 ,amusement1 an excitement which   
stimulates the nerves instead of        
uplifting the spirit1 is not necessary  
in the life of the artist4 ,of course   
one must often let oneself go1 and ,i   
should be the last to defend a so-called
 moral discipline1 or a pedantic rule of

 monastic severity4 ,for a healthy1     
active person the joy of the daily      
struggle and of work performed with     
enthusiasm should be sufficient to      
beautify life1 drive away fatigue and   
illuminate present and future4 ,this    
condition of joy is brought about in us 
by the feeling of freedom and           
responsibility1 by the clear perception 
of the creative power in us1 by the     
balance of our natural powers1 by the   
harmonious rhythm between intention and 
deed4 ,it depends upon our creative     
faculties1 both natural and acquired1   
and becomes greater as these grow4 ,the 
power of understanding ourselves        
certainly gives us a sense of freedom1  
for it opens a rapid correspondence1 not
 only between imagination and power of  
performance1 between apperception and   
feelings1 but also between the various  
kinds of feelings which dwell in us4    
,illustration3 ,the ,college4     ,,the 
,,jaques-,,dalcroze ,,method   ,i4      
,,growth#a      #a ,for much of the     

material of this chapter the writer     
is indebted to ,herr ,karl ,storck1 of  
,berlin1 to whose     book ,e4          
,jaques-,dalcroze1 seine ,stellung und  
,aufgabe in     unserer ,zeit1          
,stuttgart1 #aiab1 ,greiner  ,pfeiffer1 
the     reader is directed4   ,emile    
,jaques-,dalcroze was born in ,vienna on
 ,july #f1 #ahfe1 of mixed parentage1   
his father being a ,swiss from ,st4     
,croix in the ,jura 7hence the artist   
name ,dalcroze71 his mother of ,german  
extraction4 ,at the age of eight his    
parents brought him to ,geneva1 where in
 due course he became a student at the  
,conservatoire of ,music4 ,his musical  
education was continued in ,paris under 
,lo ,delibes and in ,vienna under       
,bruckner and ,fuchs4 ,for a short      
period his studies were interrupted by  
an engagement as musical director of a  
small theatre in ,algiers--an           
opportunity which he used for study of  
the peculiar rhythms of ,arab popular   
music1 which he found unusually         

interesting and stimulating4  ,returning
 to ,geneva1 he earned1 by a life of    
varied activities as teacher1 writer and
 composer1 a standing which in #ahib    
brought him the appointment of          
,professor of ,harmony at the ,geneva   
,conservatoire4  ,the wider experience  
which the new sphere of work brought was
 to a certain extent a disappointment1  
for with it came clear evidence of what 
had before only been suspected1 namely1 
that the education of future            
professional musicians was in many ways 
radically wrong1 in that the training of
 individual faculties was made the chief
 object1 without consideration of       
whether or no these faculties stood in  
any close relation to the inner         
consciousness of the student4 ,in other 
words1 the aim of the training was to   
form means of expression1 without       
consideration of what was to be         
expressed1 to produce a highly trained  
instrument1 without thought of the art  
whose servant it was to be1 to take as  

primary object a thing of secondary     
importance1 indeed only of importance at
 all when consequent on something which 
the usual training entirely neglected4  
,the students were taught to play       
instruments1 to sing songs1 but without 
any thought of such work becoming a     
means of self expression and so it was  
found that pupils1 technically far      
advanced1 after many years of study were
 unable to deal with the simplest       
problems in rhythm and that their sense 
for pitch1 relative or absolute1 was    
most defective2 that1 while able to read
 accurately or to play pieces memorized1
 they1 had not the slightest power of   
giving musical expression to their      
simplest thoughts or feelings1 in fact  
were like people who possess the        
vocabulary of a language and are able to
 read what others have written1 yet are 
unable to put their own simple thoughts 
and impressions into words4 ,the analogy
 here is the simplest use of everyday   
language2 from this to the art of the   

essayist or poet is far2 so in          
music--one who has mastered notes1      
chords and rhythms can give musical     
expression to simple thoughts and       
feelings1 while to become a composer he 
must traverse a road that only natural  
talent can render easy4                 
,jaques-,dalcroze took the view that    
technique should be nothing but a means 
to art1 that the aim of musical         
education should be1 not the production 
of pianists1 violinists1 singers1 but of
 musically developed human beings1 and  
that therefore the student should not   
begin by specializing on any instrument1
 but by developing his musical          
faculties1 thus producing a basis for   
specialized study4 ,this training could 
only be obtained by awakening the sense1
 natural though often latent1 for the   
ultimate bases of music1 namely1 tone   
and rhythm4 ,as the sense for tone could
 only be developed through the ear1 he  
now gave special attention to vocal     
work1 and noticed that when the students

 themselves beat time to their singing1 
the work became much more real1 that the
 pupils had a feeling of being          
physically in unison with the music1    
indeed the feeling of producing         
something complete and beautiful4       
,following up this hint1 ,gesture ,songs
 were written1 which1 it was found1 were
 performed with surprising ease4  ,up to
 this point movement had only been used 
as an accompaniment to music1 not as a  
means of expressing it2 the next step   
was to give the body a training so      
refined and so detailed as to make it   
sensitive to every rhythmic impulse and 
able to lose itself in any music4 ,this 
co-ordination of movement and music is  
the essence of the ,jaques-,dalcroze    
method1 and differentiates it from all  
other methods of similar aim4  ,so far  
only arm movements had been employed1   
and those merely the conventional ones  
of the conductor4 ,the next step was to 
devise a series of arm movements1       
providing a means of clearly marking all

 tempi from two beats in the bar to     
twelve beats in the bar1 including such 
forms as #e_/d #g_/d #i_/d #aa_/d1 and a
 system of movements of the body and    
lower limbs to represent time values    
from any number of notes to the beat up 
to whole notes of twelve beats to the   
note4 ,from the first the work aroused  
keen interest among the students and    
their parents1 and the master was given 
enthusiastic help by them in all his    
experiments2 above all he was loyally   
aided by his assistant1 ,frulein ,nina  
,gorter4 ,the ,conservatoire            
authorities1 however1 were not          
sympathetic1 and it became necessary to 
form a volunteer-experimental class1    
which worked outside official hours and 
buildings4  ,the first public           
recognition of the method was at the    
,music ,festival in ,solothurn in #aije1
 where a demonstration was given which  
made a striking impression on those     
present4 ,the value of the method for   
the elementary education of musicians   

was immediately recognized and some     
slight idea obtained of the part it     
might play in general elementary        
education4 ,it has been made clear that 
the method had its origin in the attempt
 to give life and reality to musical    
education1 to give a foundational       
development on which specialized music  
study could be based1 and that it had   
grown naturally and gradually as the    
result of observation and experiment4   
,now it began to be apparent that       
something still greater than the        
original aim had been achieved1 that the
 system evolved was one which1 properly 
used1 might be of enormous value in the 
education of children4 ,with            
characteristic energy ,jaques-,dalcroze1
 inspired by the new idea1 took up the  
study of psychology1 in which he was    
helped by his friend1 the psychologist  
,claparde1 who early saw the value which
 the new ideas might have in educational
 practice4 ,the change of outlook which 
now took place in the master's mind can 

best be made clear by a translation of  
his own words4#a      #a ,address to    
students1 ,dresden1 #aiaa 7,der         
,rhythmus1     vol4 i1 p4 #cc74      ,it
 is true that ,i first devised my method
 as a     musician for musicians4 ,but  
the further ,i carried my               
experiments1 the more ,i noticed that1  
while a method     intended to develop  
the sense for rhythm1 and indeed        
based on such development1 is of great  
importance in     the education of a    
musician1 its chief value lies in       
the fact that it trains the powers of   
apperception and     of expression in   
the individual and renders easier the   
externalization of natural emotions4    
,experience teaches     me that a man is
 not ready for the specialized study of 
an art until his character is formed1   
and his powers of     expression        
developed4  ,in #aijf was held the first
 training-course for teachers2 how the  
method has since grown can be realized  
by noting that a fortnight was then     

considered a sufficient period of       
training1 whilst now the teachers'      
course at ,hellerau requires from one to
 three years' steady work4 ,in the years
 #aijg-i the short teachers' courses    
were repeated2 in the latter year the   
first diploma was granted1 experience   
having shown the need of this1 for      
already individuals in all parts of the 
world1 after but a few days' training1  
in some cases after merely being        
spectators at lessons1 were advertising 
themselves as teachers of the method4   
,in #aiaj ,jaques-,dalcroze was invited 
by the brothers ,wolf and ,harald ,dohrn
 to come to ,dresden1 where1 in the     
garden suburb of ,hellerau1 they have   
built him a ,college for ,rhythmic      
,training1 a true ,palace of ,rhythm4   
,,ii4 ,,practice#a      #a ,in the      
preparation of this chapter free use has
     been made of the writings of ,m4   
,jaques-,dalcroze and of     ,dr4 ,wolf 
,dohrn1 ,director of the ,college of    
,music and     ,rhythm1 ,hellerau1      

,dresden4   ,the method naturally falls 
into three divisions--      7a7         
,rhythmic gymnastics proper4     7b7    
,ear training4     7c7 ,improvisation   
7practical harmony74  7a7 ,is           
essentially the ,jaques-,dalcroze       
method--that which is fundamentally new4
 ,as it is this part of the method which
 is likely to prove of great value in   
all systems of education1 not merely as 
a preparation for the study of music1   
but as a means to the utmost development
 of faculty in the individual1 it will  
be dealt with in detail4  7b7 ,is of the
 greatest importance as an adjunct to   
rhythmic gymnastics1 since it is through
 the ear that rhythm-impressions are    
most often and most easily obtained4    
,jaques-,dalcroze naturally uses his own
 methods of ear-training1 which are     
extremely successful1 but he does not   
lay stress on them2 he does1 however1   
emphasize the need of such training1    
whatever the method1 as shall give the  
pupil an accurate sense of pitch1 both  

absolute and relative1 and a feeling for
 tonality4 ,the more these are possessed
 the greater the use which can be made  
of rhythmic gymnastics4                 
,illustration3 ,beating #d_/d4          
,illustration3 ,movements for the       
,semibreve4  7c7 ,this is not required  
in the pupil1 however valuable it may be
 as an additional means of              
self-expression2 it is1 however1        
absolutely necessary for the successful 
teacher of rhythmic gymnastics1 who must
 be able to express1 on some            
instrument--most conveniently the       
piano--whatever rhythms1 simple or      
compound1 he may wish to use in the     
training of his pupils4 ,this subject1  
therefore1 naturally forms an important 
part of the normal course at the        
,hellerau ,college1 since this course is
 planned to meet the needs of students  
preparing for the teaching diploma in   
,eurhythmics4 ,here1 too1               
,jaques-,dalcroze has his own system1   
with which he obtains results often     

remarkable1 but1 as in the case of the  
ear-training1 this is a detail not      
peculiar to the method as a whole4  ,to 
repeat3 the essentials are that the     
teacher have the power of free          
expression on some musical instrument1  
the pupil that of hearing correctly4    
99       99       99       99       99  
,the system of exercises known as       
rhythmic gymnastics is based upon two   
ideas1 7i7 time is shown by movements of
 the arms1 7ii7 time-values1 i4e41      
note-duration1 by movements of the feet 
and body4 ,in the early stages of the   
training this principle is clearly      
observed2 later it may be varied in many
 ingenious ways1 for instance in what is
 known as plastic counterpoint1 where   
the actual notes played are represented 
by movements of the arms1 while the     
counterpoint in crotchets1 quavers or   
semiquavers1 is given by the feet4  ,the
 system of beating time with the arms   
provides for all tempi from #b_/d to    
#ab_/d and includes #e_/d #g_/d #i_/d4  

,in the series of movements to represent
 note-values the crotchet is taken as   
the unit2 this is represented by a step2
 higher values1 from the minim to the   
whole note of twelve beats1 are         
represented by a step with one foot and 
a movement or movements with the other  
foot or with the body1 but without      
progression1 e4g41 a minim by one step  
and a knee bend1 a dotted minim by a    
step and two movements without          
progression1 a whole note of twelve     
beats by a step and eleven movements4   
,thus for each note in the music there  
is one step1 one progression in space1  
while at the same time the note1 if of  
greater length than a crotchet1 is      
analysed into crotchets4  ,notes of     
shorter duration than the crotchet1     
i4e41 quavers1 triplets1 etc41 are      
expressed also by steps which become    
quicker in proportion to their          
frequency4  ,when the movements         
corresponding to the notes from the     
crotchet to the whole note of twelve    

beats have1 with all their details1     
become a habit1 the pupil need only make
 them mentally1 contenting himself with 
one step forward4 ,this step will have  
the exact length of the whole note1     
which will be mentally analysed into its
 various elements4 ,although these      
elements are not individually performed 
by the body1 their images and the       
innervations suggested by those images  
take the place of the movements4  ,the  
process is similar to that of the child 
learning to read2 at first it reads     
aloud1 then to itself1 still1 however1  
moving its lips1 i4e41 still making all 
the innervations necessary for the      
pronunciation of the words4 ,only after 
much practice does the process become   
sufficiently automatic for these lip and
 tongue innervations to be dropped4     
,indeed1 many adults show traces of them
 when they read4 ,to what degree our    
power to read is based upon such        
innervations is shown by the fact that  
old people1 as their inhibitory powers  

become weaker1 often revert to making   
these lip movements4 ,from this we may  
conclude that such innervations1        
although they do not find their natural 
expression1 still exist and have effect1
 i4e41 they are necessary4 ,the         
,jaques-,dalcroze method aims at nothing
 more or less than the training of      
rhythmic innervations4  ,the whole      
training aims at developing the power of
 rapid physical reaction to mental      
impressions4 ,these latter are more     
commonly obtained through the ear1      
chiefly from the music played2          
naturally1 however1 the teacher needs at
 times to give commands during an       
exercise4 ,for this purpose he          
invariably uses the word hopp1 a word   
chosen for its clear incisiveness4      
,before each exercise it is clearly     
stated what the word is to represent in 
that particular case1 e4g41 omit one    
beat1 omit one bar1 beat time twice as  
fast with the arms1 etc42 often the word
 will be used in series in an exercise1 

each hopp meaning some additional       
change4 ,as the command generally falls 
on the second half of the beat preceding
 the one in which the change is to be   
made1 very rapid mental and physical    
response is necessary1 especially if the
 music be at all quick4 ,exercises of   
this class soon give the power of rapid 
muscular innervation and inhibition1 and
 are of extraordinary value in          
education1 quite apart from their purely
 rhythmic side4  ,we will now consider  
the exercises in some detail1 taking1 as
 a matter of convenience1 the order and 
grouping generally adopted at           
demonstrations of the method4 ,in actual
 practice such strict grouping is       
neither possible nor necessary2 the     
actual form which the lessons take will 
depend upon the genius of teacher and   
pupils1 the possibilities of variety    
being infinite4      ,sidenote3         
,,movements ,,to ,,indicate ,,various   
,,tempi  ,simple music is played to     
which the pupils march4 ,as they grasp  

the beat they mark it by an accented    
step2 when this becomes easy1 the       
corresponding arm movements are added1  
and the strong beat1 at this stage      
always the first1 is marked by full     
contraction of the arm muscles4         
,practice is given until at hopp the    
pupil can stop suddenly1 discontinue    
accenting with one or both arms or with 
one or both feet1 substitute an         
arm-movement for a foot movement1 insert
 an extra accent either with arm or     
foot1 or do any similar thing previously
 agreed on4 ,by repeated practice of    
such exercises complete automatic       
control of the limbs is obtained and the
 ground prepared for more advanced work4
 ,it is at this stage that the simple   
movements to indicate times and notes   
are learnt2 they may be likened to the  
alphabet of the method1 the elementary  
exercises as a whole being its          
accidence1 the more advanced stages1    
including plastic expression1 its       
syntax4      ,sidenote3 ,,training ,,in 

,,metre  ,this group of exercises is a  
natural extension of those preceding4   
,the pupil learns a series of movements 
which together form a rhythm1 first     
practising them singly1 then in groups1 
the signal for the change being always  
the word hopp4 ,by means of such        
exercises the component movements       
required in the physical expression of a
 rhythm can be learnt1 first            
individually1 then in series1 until the 
complete rhythm can be expressed and the
 use of hopp be dropped1 each change of 
movement becoming itself the signal for 
the next4  ,again1 the pupil learns to  
realize#a a rhythm played on the piano  
or indicated by the movements of another
 person4 ,this is something quite apart 
from mere imitation2 trained by previous
 exercises1 the pupil first forms clear 
mental images of the movements          
corresponding to the rhythm in question 
and then gives physical expression to   
those images4 ,in other words1 he does  
not reproduce until he has understood2  

in fact1 without understanding1 correct 
reproduction of a lengthy series of such
 movements is impossible4 ,in the same  
way1 an individual cannot easily        
remember and repeat a succession of     
words which he does not understand1 but 
can repeat without difficulty a long    
series of words of which he understands 
the sense4 ,indeed1 the importance of   
many of these exercises becomes clearer 
when the way in which children are      
taught to read and write is remembered4 
#a ,realize is used in rhythmic         
gymnastics in the     sense express by  
movements of the body4  ,oral and visual
 images of letters and words are        
impressed on the child by reading aloud1
 and in this way the young brain easily 
masters the difficult work of reading   
and writing4 ,the ,jaques-,dalcroze     
method proceeds in exactly the same     
manner as regards the elements of music4
  ,when we have once realized this      
point1 we are bound to wonder why music 
teaching has not always been based on   

this elementary and unfailing form4     
,what would be said to teachers who     
tried to teach children to read and     
write without letting them spell and    
read aloud8 ,but this is what has often 
been done in the teaching of music1 and 
if children generally show but little   
pleasure and interest in their first    
music lessons1 the fault does not lie   
with them but with our wrong method of  
making the elements clear to them4  ,as 
a matter of fact we generally do not    
make the latter clear to them1 and fail 
in the most important duty of the       
educator and teacher1 namely1 that of   
making the child really experience what 
he is to learn4      ,sidenote3         
,,development ,,of ,,mental ,,response  
,a rhythm in music consists of a        
regularly recurring series of accented  
sounds1 unaccented sounds1 and rests1   
expressed in rhythmic gymnastics by     
movements and inhibitions of movements4 
,individuals who are rhythmically       
uncertain generally have a muscular     

system which is irregularly responsive  
to mental stimuli2 the response may be  
too rapid or too slow2 in either case   
impulse or inhibition falls at the wrong
 moment1 the change of movement is not  
made to time1 and the physical          
expression of the rhythm is blurred4    
,although feeling for rhythm is more or 
less latent in us all and can be        
developed1 few have it naturally        
perfect4 ,the method has many exercises 
which are of use in this connexion4 ,by 
means of these the pupil is taught how  
to arrest movement suddenly or slowly1  
to move alternately forwards or         
backwards1 to spring at a given signal1 
to lie down or stand up in the exact    
time of a bar of music--in each case    
with a minimum of muscular effort and   
without for a moment losing the feeling 
for each time-unit of the music4        
,sidenote3 ,,mental ,,hearing4          
,,concentration  ,physical movements    
repeatedly performed create             
corresponding images in the brain2 the  

stronger the feeling for the movement1  
i4e41 the more the pupil concentrates   
while making that movement1 the clearer 
will be the corresponding mental image1 
and the more fully will the sense for   
metre and rhythm be developed4  ,we     
might say that these movement images    
store up the innervations which bring   
about the actual movement4 ,they are for
 the body and its movements what formul 
are for the mathematician4  ,developed  
out of many movements they become a     
complete symbol for the rhythm expressed
 by the series of movements in question4
 ,thus the pupil who knows how to march 
in time to a given rhythm has only to   
close his eyes and recall a clear image 
of the corresponding movements to       
experience the rhythm as clearly as if  
he were expressing it by marching4 ,he  
simply continues to perform the         
movements mentally4 ,if1 however1 his   
movements when actually realizing the   
rhythm are weak or confused1 the        
corresponding mental images will be     

vague or incorrect1 whilst movements    
which are dynamically clear guarantee   
the accuracy of the corresponding mental
 images and nerve-impulses4  ,in        
practice the exercise consists in first 
mastering a rhythm played1 marching and 
beating time in the usual manner1 then  
at hopp discontinuing all movement1     
either for a number of bars previously  
agreed upon or until the signal to      
resume is given by a second hopp4 ,in   
this exercise the teacher ceases to play
 at the first hopp4      ,sidenote3     
,,analysis ,,and ,,division ,,of ,,time 
,,values  ,the exercises of this group  
are designed to teach how to subdivide  
units of time into parts of varying     
number4 ,at hopp the crotchet must be   
divided into quavers1 triplets1         
semiquavers1 etc41 as may have been     
previously arranged1 or instead of hopp 
the teacher may call three1 four1 etc41 
to indicate the subdivision which is to 
be expressed by the corresponding number
 of steps4 ,apart from their direct     

object1 the exercises of this group are 
of value for the training which they    
give in poise2 they might be classed    
equally well with the group under       
,development of ,mental ,response4      
,here1 too1 belong exercises in the     
realization of syncopation in which1 as 
the note is represented by the usual    
step1 it comes off the beat1 the latter 
being indicated by a knee-bend which1 in
 quick time1 becomes a mere suggestion  
of movement or is omitted1 e4g41 ,music 
,these exercises in syncopation are     
perhaps some of the most difficult in   
the method1 as they demand an           
extraordinary control of inhibition4    
,individuals of musical ability often   
find them difficult at first1 and their 
easy performance may be taken as        
evidence of a developed feeling for     
rhythm4 ,as a rule children find these  
exercises easier than do adults4        
,illustration3 ,beating #e_/d in canon  
without     expression4                 
,illustration3 ,beating #e_/d in canon  

with expression4      ,sidenote3        
,,realization ,,of ,,time ,,and ,,rhythm
  ,the object here is to express by     
rhythmic movements and without          
hesitation rhythms perceived by the ear4
 ,the exactness of such expression will 
be in proportion to the number of       
movements of which the pupil has        
acquired automatic control4 ,there is   
not time to analyse the music heard2 the
 body must realize before the mind has a
 clear impression of the movement image1
 just as in reading1 words are          
understood and pronounced without a     
clear mental image of them being formed4
  ,when the realization of a rhythm     
heard has become relatively easy1 the   
pupil is taught to concentrate1 by      
listening to1 and forming a mental image
 of1 a fresh rhythm while still         
performing the old one4 ,in this manner 
he obtains facility in rendering        
automatic1 groups of movements          
rhythmically arranged1 and in keeping   
the mind free to take a fresh impression

 which in its turn can be rendered      
automatic4  ,here again the process is  
analagous to that of reading1 in which1 
while we are grasping the meaning of a  
sentence1 the eye is already dealing    
with the next1 preparing it in turn for 
comprehension4      ,sidenote3          
,,development ,,of ,,independent        
,,control ,,of ,,the ,,limbs            
,characteristic exercises of this group 
are3 beating the same time with both    
arms but in canon1 beating two different
 tempi with the arms while the feet     
march to one or other or perhaps march  
to yet a third time1 e4g41 the arms     
#c_/d and #d_/d1 the feet #e_/d4 ,there 
are1 also1 exercises in the analysis of 
a given time unit into various fractions
 simultaneously1 e4g41 in a #f_/h bar   
one arm may beat three to the bar1 the  
other arm two1 while the feet march six4
      ,sidenote3 ,,double ,,or ,,triple 
,,development ,,of ,,rhythms  ,these    
exercises are a physical preparation for
 what is known in music as the          

development of a theme4 ,while the      
composers of fugues always use a double 
or quadruple development1 the method    
introduces an entirely fresh            
element--the triple development1        
exercises in which are difficult but    
extremely valuable4      ,sidenote3     
,,plastic ,,counterpoint ,,and          
,,compound ,,rhythms  ,in plastic       
counterpoint the arms realize the theme1
 i4e41 make as many movements as there  
are notes1 whilst the feet mark the     
counterpoint in crotchets1 quavers1     
triplets or semiquavers4  ,a compound   
rhythm may be realized by the arms      
taking one rhythm1 the feet another2 or 
the rhythms of a three part canon may be
 expressed by simultaneous singing1     
beating with the arms and marching4     
,these exercises correspond in the      
sphere of physical expression to the    
technical exercises of instrumental     
work1 for they teach the pupil to       
express simultaneously impressions of   
the most varying nature4      ,sidenote3

 ,,gradation ,,of ,,muscular ,,effort4  
,,pathetic     ,,accent4 ,,plastic      
,,expression  ,the exercises already    
dealt with have all the general purpose 
of developing feeling for rhythm by     
giving training in the physical         
expression of rhythms4 ,those in this   
last group aim at facility in making    
crescendos and decrescendos of          
innervation1 in passing from one shade  
of expression to another1 in            
co-ordinating movements1 not only to the
 rhythm of the music played1 but also to
 its feeling2 they allow free play to   
individuality1 to temperament1 and give 
opportunity for that free               
self-expression for which the preceding 
exercises have provided facility4       
,,percy ,b4 ,,ingham4     ,,lessons ,,at
 ,,hellerau   ,monsieur                 
,jaques-,dalcroze's lessons are full of 
vitality and entertainment1 combined    
with the serious work in hand4 ,no      
slacking is possible4 ,he will perhaps  
open a rhythmic gymnastic lesson by     

playing a vigorous theme of one or two  
bars in a rhythm such as the            
following3--  ,music  which1 as soon as 
it is grasped by the pupils1 they begin 
to realize1#a that is1 to mark the tempo
 with the arms1 and to move the feet    
according to the notes4 ,a note which   
contains more than one beat--for        
instance1 the minim in the first bar--is
 shown by taking one step forward for   
the first beat and by a slight bend of  
the knee for the second beat4 ,the next 
two crochets are represented by one step
 for each4 ,a step is also taken for    
each quaver1 but twice as quickly2 for  
the dotted crochet1 a step and a slight 
spring before the last quaver--all this 
while the arms are beating a steady     
four4 ,after a short practice of these  
two bars1 the master will glide into yet
 another rhythm1 the pupils still       
realizing the first one1 but at the same
 time listening and mentally registering
 the one being played1 so as to be ready
 on the instant at the word of command1 

which is hopp1 to change to the new     
rhythm4 ,we will suppose it to be as    
follows ,music4 ,this1 it will be       
noticed1 is in #c_/d time4 ,the pupils  
become accustomed to dropping frequently
 into various times with the greatest   
ease4 ,the three bars would then be     
realized consecutively1 and this process
 will continue until perhaps there are  
six bars in all4 ,these must all be so  
clear in the minds of the pupils1 that  
at the word of command1 one bar1 or two 
bars1 can be omitted on the instant1 or 
be realized twice as quickly1 or twice  
as slowly2 or what is still more        
complicated1 the arms can beat the time 
twice as slowly and the feet mark the   
notes twice as quickly4 ,it seems       
incredibly difficult to do at first1 but
 the same training of thinking to time  
occurs in every lesson1 in improvisation
 and solfge1 as well as in the rhythmic 
gymnastic lessons1 and so the invaluable
 habits of concentrated thinking1 of    
quick and definite action1 and of       

control of mind over body1 become       
established4      #a ,see note1 page #da
      ,illustration3 ,the ,air ,bath4   
,illustration3 ,the ,college3 ,entrance 
,hall4  ,each lesson is varied to a     
remarkable degree2 in fact1 ,monsieur   
,jaques-,dalcroze seldom repeats        
himself4 ,every day he has new ideas1   
consisting of new movements1 or of new  
uses for old ones1 so that there is     
never a dull moment4 ,it must be        
understood1 however1 that the alphabet  
and grammar of the movements remain the 
same1 it is the combinations of them    
that are limitless4 ,the music is1 of   
course1 always improvised4  ,a word     
should be said on the subject of feeling
 two different rhythms at the same time4
 ,every teacher knows the difficulty    
children have in playing three notes    
against four on the piano4 ,the         
,hellerau children can with ease beat   
four with one arm and three with the    
other1 or beat three with the arms and  
two or four with the feet1 or vice      

versa4 ,and this is not learnt in any   
mechanical way2 the power for feeling   
two rhythms simultaneously is developed4
 ,advanced pupils can realize three     
rhythms at the same time4 ,they will    
perhaps mark one with the arms1 another 
with the feet1 and sing yet a third4    
,another part of the work is to teach   
the pupils to express the type of music 
that is being played2 this is           
technically known as ,plastic           
expression4 ,the alphabet of this       
consists of twenty gestures with the    
arms1 which can be done in many various 
combinations and in various positions1  
and by means of these any kind of       
emotion can be expressed4 ,perhaps the  
music will begin by being solemn and    
grand1 becoming even tragic1 and        
gradually the tones and melody will rise
 to cheerfulness1 the rhythm will become
 more animated and the tone swell out   
again until a perfect ecstasy of joy is 
reached--and all the while the figures  
of the pupils are harmonising absolutely

 with the music1 trained as they are to 
listen accurately to every note1 every  
accent1 every change of key and1 above  
all1 every rhythm4 ,to the watcher such 
an exercise is effective and striking in
 the highest degree4  ,realizing        
syncopated passages is a fine exercise  
for developing independence of movement 
in the arms and feet1 as the feet move  
in between the beats of the arms4 ,let  
any one try to realize a simple measure 
in syncopation4 ,for instance1 take a   
bar of #d_/d time ,music4 ,the first    
beat of the arms and the first step will
 come together1 the second beat of the  
arms will come half-way between the     
second and third steps1 the third beat  
half-way between the third and fourth   
steps1 and the fourth beat half-way     
between the fourth and fifth steps1 and 
this should be done with no contraction 
of muscle or appearance of effort4      
,other exercises consist of beating     
various times in canon1 that is1 one arm
 beginning one beat later than the      

other2 of beating different times with  
each arm1 perhaps seven with one arm and
 three with the other2 of marching to   
one rhythm and beating time to another2 
of simple marching and at the word of   
command taking one step backward1 and   
then forward again2 of marching the     
counterpoint of a rhythm4 ,for instance1
 if the rhythm played be ,music the     
counterpoint in crochets would be       
,music1 or if it is to be in quavers it 
would be ,music4 ,the counterpoint can  
be filled in with triplets1 semiquavers1
 or with notes of any other value4      
,another good exercise is to take a     
simple rhythm and at the word of command
 realize it twice or three times as     
quickly or as slowly1 the arms still    
beating in the first tempo4 ,a simple   
example will make this clear4 ,music    
twice as quickly would become ,music4   
,the pupils are often asked to listen to
 what is played and then to realize it4 
,it may be a series of four bars1 each  
one in a different tempo1 and all times 

are employed1 including #e_/d1 #g_/d1   
#i_/c and others which are somewhat     
exceptional4 ,and so on ad infinitum4   
,from these suggestions something of the
 endless variety of exercises that may  
be devised can probably now be imagined4
  ,as soon as movements become automatic
 they are used as units for building up 
more elaborate movements1 and no time is
 wasted in doing merely mechanical      
exercises4 ,in every detail of the      
method the brain is called into constant
 activity1 and1 lest any one should     
think that it would be easy for one     
pupil to copy another in doing the      
exercises1 it should be stated that1 if 
such a thing were attempted1 it would   
end in the pupil becoming hopelessly    
confused1 for if the mind once loses    
hold of the work in process it is very  
difficult to pick it up again4  ,the    
solfge lessons are chiefly for          
ear-training and practical harmony4 ,in 
the elementary classes it is shown how  
scales and chords are formed1 and where 

the tones and semitones occur4 ,the     
pupils soon become able to tell1 when   
three consecutive notes from any scale  
are played1 what degrees of the scale   
they are1 or may be4 ,scales are sung   
always beginning on ,c for every key and
 always to a rhythm4 ,here1 again1 the  
pupils have to think to time1 for in the
 second scale1 which would be that of   
,f1 if the flat scales were being sung1 
they have to remember that they are     
starting on the fifth note of the scale1
 and that the interval between the third
 and fourth notes of the scale is a     
semitone2 that the third and fourth     
degrees in the key of ,f are ,a and ,b1 
and therefore the ,b has to be flattened
 in this scale1 the other notes         
remaining the same4 ,the whole cycle of 
scales is sung in this manner1 each one 
commencing on ,c1 or on ,c flat when    
necessary4 ,the pupils are also         
practised in listening to a scale played
 and then saying in which key it is1    
judging it by the fall of the semitones4

      ,illustration3 ,class ,rooms4     
,illustration3 ,the ,college3           
,interiors4  ,chords are sung           
analytically and in chorus1 with their  
resolutions when needed1 and this is    
followed by practice in hearing and     
naming chords4  ,sight singing and      
transposition are by no means neglected1
 and there is practice in singing       
intervals1 in singing a piece once or   
twice through and then from memory1 or  
in another key1 which is not so easy to 
do when the fixed ,do is used4 ,and     
always1 whatever is being done1 the     
pupils have to be prepared for the word 
hopp1 to make any change which has been 
previously agreed on1 e4g41 to sing on  
the instant in a key a semitone lower1  
or to sing in thought only until the    
next hopp1 when they sing aloud again4  
,in these exercises1 as in those of the 
rhythmic gymnastics1 there is no end of 
the variety of combination possible4    
,there is also opportunity for practice 
in conducting1 and very interesting it  

is1 in a children's class1 to note with 
what assurance a small girl of perhaps  
seven or eight will beat time for the   
others to sing one of their songs1 and  
also to note the various renderings each
 conductor will obtain of the same      
piece4  ,the improvisation on the piano 
is perhaps the most difficult part of   
the system to master4 ,it may not be    
realized by all people that every one   
can be taught to play original music4   
,there are cases in which the pupil is  
not naturally musical1 and has had no   
previous knowledge of piano playing1 but
 has learnt to improvise sufficiently   
well to give a good lesson in rhythmic  
gymnastics1 which means no small degree 
of ability4 ,this training is begun by  
making use of the simplest1 i4e41 the   
common1 chords1 and when these are known
 in every key1 including those on the   
dominant1 the pupil is expected to      
improvise a short piece of eight bars1  
the chief feature to be attended to     
being the rhythm1 which has to be       

definite and played without hesitation4 
,when perfect familiarity is obtained   
with the common chord of each key and   
with that of its dominant1 another chord
 is learnt1 that on the sub-dominant4   
,with these three chords alone quite    
charming little pieces can be played1   
and gradually in this manner the pupil  
has at his command passing notes1       
appoggiaturas1 cadences1 and an         
unlimited number of chords and          
sequences4 ,then come the rules for     
modulating from one key to another1 and 
equal facility in all keys is insisted  
on4 ,monsieur ,jaques-,dalcroze's pupils
 learn to improvise with definite       
thought and meaning1 nothing            
unrhythmical is ever allowed1 nor any   
aimless meandering over the keyboard4   
,for these lessons the pupils are       
divided into small groups of not more   
than six in each1 and twice a week these
 groups are taken altogether by         
,monsieur ,jaques-,dalcroze4  ,all      
branches of the work demand perfect     

concentration of thought and attention1 
and such invaluable mental training     
cannot be too highly prized1 for it is  
fundamental to success in work of any   
kind1 whatever it may be4  ,,ethel      
,,ingham4      ,illustration3 ,the      
,hostel3 ,interiors4     ,,life ,,at    
,,hellerau   ,surely never before has   
the world held better opportunities for 
studying and loving the beautiful and   
true4 ,one need be but a few days in    
,hellerau in order to see some of the   
many advantages which a stay there has  
to offer4 ,for young men and women      
searching for a profession in life2 for 
those fresh from school while waiting to
 discover their natural bent2 for adults
 who seek a change from their ordinary  
surroundings and who wish to improve in 
culture and in health2 for musicians and
 students in art1 for teachers of       
dancing1 and for children of all ages1 a
 course of study at the ,college in     
,hellerau contains advantages and       
opportunities which seem to exist in no 

other educational institution4  ,for the
 convenience of young girls there is a  
hall of residence1 which will           
accommodate about forty-six students1   
the head of which is a cultured ,english
 lady of wide experience4 ,there are    
also many small houses on adjoining     
land1 in which the male students and    
those who are older can live4 ,these    
may1 and as a rule do1 come to the      
,hostel for meals4  ,the home life in   
the ,hostel is a cheerful one4 ,the     
bedrooms are bright1 containing just the
 necessary furniture1 which of course   
includes a piano4 ,there is a large and 
charmingly furnished room opening from  
the hall1 known as the ,diele1 which    
serves as a general sitting-room for the
 students4 ,the dining-room is equally  
delightful1 and can be quickly converted
 into a ball-room for impromptu dances1 
or adapted for other entertainments4    
,there is also a library2 and throughout
 the whole house the same good taste is 
displayed4 ,leading from the dining-room

 is a large terrace1 with steps down    
into an attractive garden4  ,the day    
commences with the sounding of a gong at
 seven o'clock2 the house is immediately
 alive1 and some are off to the ,college
 for a ,swedish gymnastic lesson before 
breakfast1 others breakfast at half-past
 seven and have their lesson later4     
,there is always a half hour of ordinary
 gymnastics to begin with4 ,then there  
will be a lesson in ,solfge1 one in     
,rhythmic ,gymnastics1 and one in       
,improvisation1 each lasting for fifty  
minutes1 with an interval of ten minutes
 between each lesson4  ,dinner1 which is
 at a quarter-past one1 is followed by  
an hour for rest2 and at three the      
energetic people begin practising4 ,the 
afternoons are usually free1 except     
twice a week1 when there are lessons in 
,plastic and dancing from four till six1
 before which tea is served1 or there   
may be extra lessons in rhythmic        
gymnastics for small groups of pupils   
who need further help1 and students may 

obtain the use of a room for private    
practice together4 ,in the afternoons1  
too1 there is time and opportunity for  
any other extra study or lessons which  
are not included in the ordinary course1
 such as violin1 solo singing1 drawing  
or painting4 ,most of the students soon 
acquire wide interests1 if they do not  
have them when they first come4 ,free   
afternoons may be spent in visiting the 
galleries and shops of ,dresden4        
,whenever there is anything especially  
good in the way of a concert1 or an     
opera or a classical play1 there is     
always a party of enthusiasts going into
 town for it4 ,the opera in ,dresden1 as
 in other parts of ,germany1 fortunately
 begins and ends early4 ,late hours are 
not encouraged at the ,hostel--indeed1  
everybody is glad to retire early1 for  
the work is absorbing and demands plenty
 of energy1 especially if the full      
teachers' course be taken1 with the hope
 of a diploma at the end of two years4  
,illustration3 ,the ,hostel4  ,supper is

 served at a quarter-past seven1 and on 
two evenings a week those who wish to   
join the orchestral or choral societies 
have the pleasure of meeting together   
and practising under the direction of   
,monsieur ,jaques-,dalcroze4  ,an       
atmosphere of enthusiasm and good-will  
permeates the social life4 ,no community
 of the kind could have a more          
delightful spirit of unity than that    
which pervades the ,jaques-,dalcroze    
,school4 ,all students are keen and     
anxious to live as full a life as       
possible1 every one will willingly and  
unselfishly take time and trouble to    
help others who know less than          
themselves4 ,the ,college has a unity   
born of kindred interests1 and every one
 glows with admiration and esteem for   
the genius at the head1 and for his     
wonderful method1 whilst he himself     
simply radiates good-will and           
enthusiasm1 and works harder than any   
one else in the place4 ,he makes a point
 of knowing each one of his pupils      

personally1 and remarkably quick he is  
in summing up the various temperaments  
and characters of those with whom he    
comes into contact4  ,the moral and     
mental tone of the ,college is pure and 
beautiful1 indeed it could not well be  
otherwise1 for the work in itself is an 
inspiration4 ,a change is often         
observable in pupils after they have    
been but a few weeks in residence1 a    
change which tells of more alertness of 
mind1 of more animated purpose1 and even
 of higher ideals and aims in life4     
,illustration3 ,dresden from ,hellerau4 
,there are opportunities for the        
practice of many languages1 for it is a 
cosmopolitan centre4 ,nearly all        
,european nationalities are represented1
 but as yet the number of ,english      
people is not large4 ,this1 however1    
will not long remain so1 for the        
,jaques-,dalcroze method needs only to  
be known in order to be as widely       
appreciated in ,great ,britain and the  
,united ,states as it is on the         

,continent4  ,the lessons are given in  
,german1 though occasionally ,french is 
used to make clear anything that is not 
quite understood in the former tongue4  
,english people who do not know either  
of these languages need not look upon   
this as an obstacle1 for one quickly    
arrives at understanding sufficiently   
well to gain the benefit from the       
lessons1 and there is always some one in
 the classes who will interpret when    
necessary4  ,the ,college itself is a   
fine example of the value of simplicity 
and space in architecture4 ,both without
 and within1 the block of buildings is  
impressive1 this effect being gained by 
an extreme simplicity of decoration4    
,the most modern methods of heating and 
ventilating are provided1 and there are 
large sun and air baths4  ,completed in 
the spring of this year1 and with       
accommodation for five hundred students1
 the settlement stands on high ground   
about four miles from ,dresden1 in an   
open1 bracing1 healthy spot1 with       

charming walks in all directions4 ,the  
views are extensive2 to the south lie   
the ,erzgebirge1 to the south-east      
,saxon ,switzerland1 and1 in a dip of   
the nearer hills1 ,dresden4  ,,ethel    
,,ingham4     ,,the ,,value ,,of        
,,eurhythmics ,,to ,,art   ,one of the  
most marked tendencies of modern        
aesthetic theory is to break down the   
barriers that convention has erected    
between the various arts4 ,the truth is 
coming to be realized that the essential
 factor of poetry1 painting1 sculpture1 
architecture and music is really of the 
same quality1 and that one art does not 
differ from another in anything but the 
method of its expression and the        
conditions connected with that method4  
,this common basis to the arts is more  
easily admitted than defined1 but one   
important element in it--perhaps the    
only element that can be given a        
name--is rhythm4 ,rhythm of bodily      
movement1 the dance1 is the earliest    
form of artistic expression known4 ,it  

is accompanied in nearly every case with
 rude music1 the object being to        
emphasize the beat and rhythmic movement
 with sound4 ,the quickness with which  
children respond to simple repetition of
 beat1 translating the rhythm of the    
music into movement1 is merely          
recurrence of historical development4   
,words with the music soon follow1 and  
from these beginnings--probably         
war-songs or religious chants--come     
song-poems and ultimately poetry as we  
know it to-day4 ,the still more modern  
development of prose-writing1 in the    
stylistic sense1 is merely a step       
further4  ,the development on the other 
side follows a somewhat similar line4   
,the rhythm of the dancing figure is    
reproduced in rude sculpture and        
bas-relief1 and then in painting4       
,illustration3 ,a ,plastic ,exercise4   
,so we have1 as it were1 a scale of the 
arts1 with music at its centre and      
prose-writing and painting at its two   
extremes4 ,from end to end of the scale 

runs the unifying desire for rhythm4#a  
#a ,for valuable help in these ideas ,i 
am indebted to     ,mr4 ,j4 ,w4 ,harvey4
 ,i should like to quote verbatim one or
     two remarks of his on the subject1 
taken from a recent     letter3 ,human  
motion gives the convergence of time    
7inner sense7 and space 7outer sense71  
the spirit and     the body4 ,time1     
which we are in our inner selves1 is    
more dissociable from us than space1    
which only our     bodies have2 the one 
7time7 can be interpreted               
emotionally and directly by a           
time-sense2 the other     7space7       
symbolically1 by a space-sense1 which is
     sight4  ,to speak of the rhythm of 
painting may seem fanciful1 but ,i think
 that is only lack of familiarity4 ,the 
expression is used here with no         
intention of metaphor4 ,great pictures  
have a very marked and real rhythm1 of  
colour1 of line1 of feeling4 ,the best  
prose-writing has equally a distinct    
rhythm4  ,there was never an age in the 

history of art when rhythm played a more
 important part than it does to-day4    
,the teaching of ,m4 ,dalcroze at       
,hellerau is a brilliant expression of  
the modern desire for rhythm in its most
 fundamental form--that of bodily       
movement4 ,its nature and origin have   
been described elsewhere2 it is for me  
to try and suggest the possibilities of 
its influence on every other art1 and on
 the whole of life4  ,let it be clearly 
understood from the first that the      
rhythmic training at ,hellerau has an   
importance far deeper and more extended 
than is contained in its immediate      
artistic beauty1 its excellence as a    
purely musical training1 or its value to
 physical development4 ,this is not a   
denial of its importance in these three 
respects4 ,the beauty of the classes is 
amazing2 the actor1 as well as the      
designer of stage-effects1 will come to 
thank ,m4 ,dalcroze for the greatest    
contribution to their art that any age  
can show4 ,he has recreated the human   

body as a decorative unit4 ,he has shown
 how men1 women and children can group  
themselves and can be grouped in designs
 as lovely as any painted design1 with  
the added charm of movement4 ,he has    
taught individuals their own power of   
gracious motion and attitude4 ,musically
 and physically the results are equally 
wonderful4 ,but the training is more    
than a mere musical education2 it is    
also emphatically more than gymnastics4 
,perhaps in the stress laid on          
individuality may be seen most easily   
the possibilities of the system4        
,personal effort is looked for in every 
pupil4 ,just as the learner of music    
must have the opportunity of expressing 
his own musical impressions with the    
technical means which are taught him1#a 
so the pupil at ,hellerau must come to  
improvise from the rhythmic sense innate
 in him1 rhythms of his own4#b      #a  
,cf4 supra1 p4 #bh4      #b ,a good     
example of the fertility and variety of 
the     individual effort obtained at   

,hellerau was seen at the     ,auffhrung
 given on ,december #aa1 #aiaa4 ,two    
pupils     undertook to realize a       
,prelude of ,chopin1 their choice       
falling by chance on the same ,prelude4 
,but hardly a     movement of the two   
interpretations was the same4 ,the      
first girl lay on the ground the whole  
time1 her head     on her arm1          
expressing in gentle movements of head1 
hands and feet1 her idea of the music4  
,at one point     near the end1 with the
 rising passion of the music1 she       
raised herself on to her knees2 then    
sank down again to     her full length4 
,the second performer stood upright     
until the very end4     ,at the most    
intense moment her arms were stretched  
above her head2 at the close of the     
music she was bowed     to the ground1  
in an attitude expressive of the utmost 
grief4 ,in such widely different ways   
did the same piece     of music speak to
 the individualities of these two       
girls4  ,to take a joy in the beauty of 

the body1 to train his mind to move     
graciously and harmoniously both in     
itself and in relation to those around  
him1 finally1 to make his whole life    
rhythmic--such an ideal is not only     
possible but almost inevitable to the   
pupil at ,hellerau4 ,the keenness which 
possesses the whole ,college1 the       
delight of every one in their work1     
their comradeship1 their lack of        
self-consciousness1 their clean sense of
 the beauty of natural form1 promises a 
new and more harmonious race1 almost a  
realization of ,rousseau's ideal1 and   
with it an era of truly rhythmic        
artistic production4  ,that the soil is 
ready for the new seed may be shown by a
 moment's consideration of what ,i      
consider to be a parallel development in
 painting4 ,there is in ,munich a group 
of artists who call themselves ,der     
,blaue ,reiter4 ,they are led by a      
,russian1 ,wassily ,kandinsky1 and a    
,german1 ,franz ,marc1 and it is of     
,kandinsky's art that ,i propose to     

speak4 ,kandinsky is that rare          
combination1 an artist who can express  
himself in both words and paint4 ,his   
book--ber das ,geistige in der          
,kunst#a--;is an interesting and subtle 
piece of aesthetic philosophy4 ,his     
painting is a realization of the attempt
 to paint music4 ,he has isolated the   
emotion caused by line and colour from  
the external association of idea4 ,all  
form in the ordinary representative     
sense is eliminated4 ,but form there is 
in the deeper sense1 the shapes and     
rhythms of the innerer ,notwendigkeit1  
and with it1 haunting1 harmonious       
colour4 ,to revert to a former metaphor1
 painting has been brought into the     
centre of the scale4 ,as ,kandinsky says
 in his book3 ,shades of colour1 like   
shades of sound1 are of a much subtler  
nature1 cause much subtler vibrations of
 the spirit than can ever be given by   
words4 ,it is to achieve this finer     
utterance1 to establish a surer and more
 expressive connexion between spirit and

 spirit1 that ,kandinsky is striving4   
,his pictures are visions1 beautiful    
abstractions of colour and line which he
 has lived himself1 deep down in his    
inmost soul4 ,he is intensely           
individual1 as are all true mystics2 at 
the same time the spirit of his work is 
universal4      #a ber das ,geistige in 
der ,kunst4 ,piper ,verlag1     ,mnchen1
 #c ,marks4 ,see also vol4 i4 of der    
,blaue     ,reiter4 ,piper ,verlag1 #aj 
,marks4  ,in this1 then1 as in so much  
else1 ,kandinsky and ,dalcroze are      
advancing side by side4 ,they are       
leading the way to the truest art1 and  
ultimately to the truest life of all1   
which is a synthesis of the collective  
arts and emotions of all nations1 which 
is1 at the same time1 based on          
individuality1 because it represents the
 inner being of each one of its         
devotees4  ,,michael ,t4 ,h4 ,,sadler4  
,printed by ,,butler  ,,tanner1 ,frome  
and ,london4       ,illustration3 ,a    
,plastic ,exercise4