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DALCROZE SCHOOL
OF THE
STUDENT HANDBOOK
ROCKIES
Designed for Students of the Professional Studies Division Dr. Jeremy Dittus, Diplme Suprieur
At the outset of the program, each student must map out a program with me to determine goals and trajectories. In an initial meeting I will give a short entrance exam to determine at what level each student will begin the program and what, if any, additional coursework may need to be completed, including any movement courses or summer programs. Students must have the skills necessary to successfully begin the program, if not we will outline a path to help the student enter into the program at a later date. These exam requirements will include: o The ability to play the piano at an early intermediate level (for example: Clementi Sonatinas, Schumanns Album for the Young) o Pre-requisite basic knowledge of Solfge and Music Theory o o Present a harmonic analysis of a Bach chorale Present a prepared melody with Solfge Present a prepared harmonization of a folk song Sight reading exercises in Solfge, Rhythm, and Keyboard Harmony
A rsum of teaching experience in music or movement A short essay of intention, goals, and objectives; in short, what do you expect to gain from the program?
Eurhythmics is the cornerstone of the method Jaques-Dalcroze, so participation in weekly Adult Eurhythmics courses is mandatory unless extenuating circumstances will not allow. If this is the case, we will need to make provisions to ensure that appropriate standards are being met. A minimum of 60 class hours of eurhythmics study is required for Licensure (including summer study). For students with previous Dalcroze experience, equivalence must be documented. For students enrolling in long-distance studies, special arrangements will need to be made to ensure that these requirements are met. In Eurhythmics it is imperative that students have adequate time and experience in movement and music related activities. In this way, the skills they learn will be wellintegrated in the body and can be easily manifested.
Solfge, Improvisation, and Methodology will most likely all take place privately or in pairs, depending on enrollment and ability. When possible, there will be group discussions scheduled for Methodology. The time requirement for these classes is entirely dependent on the students abilities coming into the program and his/her capacity to integrate the Dalcrozian component of the pedagogy required to teach these branches.
As the student moves through the program, we will work together to decide when we will meet for lessons and when Checkpoint Observations will be made. These Checkpoint Observations will be scheduled in advance at a mutually convenient time for the student and me. The benefit of the Checkpoint Observation is that the students will get individual feedback on their performance throughout their studies.
Students should refer to their schedule to be aware of the necessary requirements for Licensure. If they follow the plan closely, there should be no surprises or unfavorable Checkpoint Observation experiences.
Polyrhythms Complementary Rhythm Divisions: quarters vs eighths, for example Patterns, Leitmotifs: quarter and two eighths vs. two eighths quarter, for example. Polymetrics: (two against three; three against four; three against five; four against five)
Eurhythmics
Beat type: Divisions of 2s and 3s Divisions, Subdivisions, and the Multiple
Silences (internalization of time/space in the absence of sound) Affect in Relation to Placement in a Measure or Phrase Duration
Meter: Simple, Compound, Composite (measures of unequal beats) Arm Beats (measures of 2 through 5) Measure Shape Anacrusis, Crusis, & Metacrusis Metric Transformation Division Equals Division (Divisions of 12 Eighths) Metric Modulation Beat equals Beat and Division Equals Division in Sequence
Augmentation and Diminution Leitmotifs Simple : 2 beats in length). Complex :4 beats in length, including dotted values and syncopations . Measures of 3 and 5 Beats. Hemiola Themes from Literature. Phrases (constructed from a series of augmentation and diminution of a single leitmotif).
Percussion Improvisation
Improvisation for Eurhythmics Exercises Basic Locomotor Skills: Walk (Tip-toe, Normal, and Heavy), Slide, Skip/Gallop, Trot/Jog, Running Accompaniment Patterns for Right and Left Hands Expression Elements
Composition Prosody
Piano Improvisation
Study of Large-Scale Form and Structure Classical Dance Forms: Gavotte, Sarabande, Gigue, and Minuet Theme and Variations Binary and Ternary Forms, Rondos
Harmonic Progressions Basic Functional Progressions Harmonic Rhythm Bach Chorales Figured Bass Transposition Modulations Neighboring Keys Non-Neighboring Keys Enharmonic use of the Neapolitan, Augmented Triads, Augmented Sixth Chords, and Fully-Diminished Seventh Chords to Facilitate Distant Modulations Sequences Diatonic and Modulating
Melodic Harmonization 2 voice 3rds , 6ths , 10ths Developing Independence of the Hands Homophonic/Chorale Different Styles to Inspire Movement
Creating an Appetite for Improvisation Playing for Images Duet and Group Improvisation
Scale Harmonizations in Three Voices Do to Do Scale Harmonizations Major and Harmonic Minor
Development of Knowledge of Folk Song Literature and Intermediate Classical Literature Spin-offs Adaptation for Use in the Eurhythmics Classroom
Sightreading Exercises from the books of Jaques-Dalcroze Dichords and Trichords Development of Classical and Folk Song Literature Knowledge
Major and All Three Minor Scales Do to Do scales Function with Numbers Note names with Letter Names
Solfge
Melodic Shape and Structure Repetition and Development Phrases and Phraselettes Cadences Breath
Intervals Up and Down Compound Intervals Melodic and Harmonic Vocal Improvisation
Triads and Seventh Chords and their inversions Major, Minor, Augmented, Diminished MM; Mm; mm; half-diminished; fully-diminished Resolution of chords in descending fifths and thirds Progressions Applied Chords
Assigned Reading from Required Texts Building Your Personal Dalcroze Library Methods Songs Literature Curriculum Development
Learning How to Watch Students from the Circle and from the Piano Giving Useful, Constructive Feedback
Methods
How to Create a Spectacle At the End of a Semester For a short-term summercamp Sets and Costumes Lighting
Philosophical Goals The Need for Discovery The Importance of Joy Stimulating Imagination Providing Outlets for Creativity Dalcroze Subjects and Approaches
Lesson Structure Sequencing and Development of Lesson Subjects Incorporating Variety Different Learning Styles Use of Recorded Music How to Create Your Own Versions of Classical Repertoire Use of Other Instruments than Piano or Voice Use of Materials Use of Story-telling and Drama Use of Folk and Classical Literature How to Create Effective Handouts Maintaining Flexibility
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Step basic patterns in canon and conduct the measure using arm beats.
Checkpoint Observation 2: Beat; Division; Multiple Compound Time in meters of 2, 3, and 4; Complementary Rhythm Checkpoint Observation 3: Phrase; Anacrusis, Crusis, Metacrusis; Measure Shape; Breath
Step basic patterns in canon and conduct the measure using arm beats.
Use one of the rhythmic patterns used in the follow and systematically work it through each beat of 3 or 4 time in a coherent phrase.
Using the material from the previous exams, step a canon that contains anacrusic elements.
Improvise vocally while you move a series of consecutively growing anacrusic gestures in 3 or 4 time. (el e ; eel e; eeel e; etc.). Step an augmentation/diminution phrase of a given motif. (iq q iq ql jiq jiql jiq jiql iq ql iq ql q q l h l ) Conduct for the meter; conduct for the pattern (conducting pattern changes with each cell). Step the suite of 4 beat divisions and clap the complementary pulses. Change hands and feet at the end of the phrase.
Step or clap a canon at the measure. If the melody goes up, step the pattern twice as fast two times. If the melody goes down, step the pattern twice as slow. If the melody stays the same, step the same rhythm. Step or clap a pattern canon that corresponds to the 4 beat divisions of 12 eighths.
Move or step a phrase of measures that change meters: beat equals beat (l iiq q el iq ql or division equals division l iqiql q.e ql jjjq iqh l ).
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Checkpoint Observation 7: Metric Transformation; Polyphony: Simple and Augmentation/Diminut ion of a single motif Checkpoint Observation 8: Polyrhythmy and Polymetrics
Step a given pattern in simple triple meter and transform it into compound duple (l ea. asez e ql turns into l ea. ase iq ql ). Step the composites for 3 against 4 or 3 against 5.
Step an ostinato in divisions of 3, 4, or 5 while clapping a one beat canon that employs polyrhythms.
Step a given pattern while clapping another. Change hands and feet with the music. (e q e vs. q iq).
Checkpoint Observation 10 and Juried Exit Exam: Metric Modulation; Canons in 2 and 3 voices
Perform a two beat canon. Hands are in canon with piano (two beats behind the piano) while the feet are in canon with hands (four beats behind the piano).
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Checkpoint Observation 3: Phrase; Anacrusis, Crusis, Metacrusis; Measure Shape; Breath Checkpoint Observation 4: Augmentation and Diminution; Silences; Syncopation
Improvise a series of movements that demonstrates your knowledge of the Laban effort action drives. Plastique Anime solo based on literature of students choice (short: 2-3 minutes).
Plastique Anime solo based on literature of teachers choice (short: 2-3 minutes).
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Checkpoint Observation 7: Metric Transformation; Polyphony: Simple and Augmentation/Diminuti on of a single motif
Folk Dance. Create and teach a folk dance with multiple contrasting sections that corresponds to a ballade or folk song.
Independent study in Dance. Take an approved course in movement or dance, and present its applications to Dalcroze Eurhythmics.
Final Plastique Anime Project: choose a more substantial work and begin creating a Plastique from it. Presentation of the final Plastique.
Checkpoint Observation and Juried Exit Exam 10: Metric Modulation; Canons in 2 and 3 voices
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Students must show the dynamic relationship among time, space, and energy. Nuances, tempi, and dynamics, as well as rhythmic precision and accuracy must be visually represented in the body. In addition, Flow must also be addressed and/or demonstrated. In this aspect, the student must demonstrate a continuity and unity of the rhythm through the body that corresponds with the music. The use of weight is of the utmost importance. In general, students should move with the weight of their bodies on the forward part of their feet, except for expressive purposes and/or extremely slow music. There will explore many different ways of walking and running, along with the technique required to execute each one and transition from one type of movement to another. Naturally these different ways of moving will correspond directly to different types and styles of music. Arm beats will be used in place of conducting gestures, unless the music is too rapid. The gestures should be large, graceful, and expressive with the arms stretched fully at the apex of each beat. The fists should be closed at the debut of beat one. The specifics of these techniques will be discussed in the classes.
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2. Canon
3. Phrase/Systemization
Checkpoint Observation 1
Checkpoint Observation 2
Checkpoint Observation 3
Checkpoint Observation 4
Checkpoint Observation 5
1. One voice improvisation (2, 3, and 4 time) a. Right Hand b. Left Hand c. Major /Minor Keys d. Modes 2. Rhythmic skeletons (one voice) 1. One voice improvisation based on various composed music selections (Spin-offs, prepared in advance) a. Folk Music b. Classical Music c. Popular music 2. Rhythmic skeletons 1. Song accompaniment: chords only, while pianist sings accompaniment. Pianist prepares a selection of 6 tunes that correspond to music and Movement 2. Rhythmic skeletons 3. Two piano improvisation 1. Repetition, Contrast, and Motivic development with one voice (Prepared in advance): a. Right Hand b. Left Hand c. Major/Minor Keys and Modes 2. Rhythmic Skeletons 1. Spin-offs with accompaniment 4 based on Folk Song Literature, and 2 based on Classical Literature; folk Songs must be prepared in 3 different keys
1. Binary Forms
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Melody
Checkpoint Observation 6
Checkpoint Observation 7
1.
2.
3. 4.
Checkpoint Observation 8
1. 2. 3.
4.
Checkpoint Observation 9
1. 2.
3. 4.
1. 2. 3. 4.
5.
Applied chords for every other scale degree and their inversions Harmonization of Major Scales in all keys (3 voices, melody in the soprano) The Neapolitan Modulation to closely related keys up to 4 sharps/flats All varieties of Augmented Sixth Chords Quartal-Quintal Improvisation; Clusters Harmonization of Minor Scales in all keys (3 voices, melody in the bass) Mixture and substitution within a tonality Fully diminished seventh chords Mixture and substitution as a means to modulate to distantly related keys Harmonization of the C to C scales in Major 5-6 Technique and other sequences Augmented triads Planing Harmonizations of the C to C scales in Minor Other techniques for Modulation to distantly related keys, specifically median relationships. Chromatic sequences
1. Two-voice improvisation based on 3rds , 6ths , 10ths , and other contrapuntal techniques 2. Simple two voice Rhythmic Skeletons 3. Prosody and song composition 1. Transposition of melodies 2. Continued work on contrapuntal techniques 3. Simple two-voice Rhythmic Skeletons
1. Continued work on Prosody and song composition 2. Romantic Gesture and Chromaticism 3. More complicated Rhythmic skeletons
1. Continued work with Repetition, Contrast, and Motivic development with two or more voices
1. Like Exam 5, but with all new literature; spin-off portion should change keys 2. More complicated Rhythmic skeletons
1. Prepare 3 Canons in two voices, each in two keys 2. More complicated Rhythmic skeletons
1. Rondo Forms
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Repertoire Music to be performed from memory. The collection should represent a diverse array of music suitable for the eurhythmics classroom
Intermediate Repertoire Piece 1
Playing for Movement Two or more voices unless otherwise stated In meters of 2, 3, or 4 unless otherwise stated
1. Walking, Trotting, Slow music; always with changes in affect, nuance, articulation (One voice, only) 2. Accompanying movement with a drum and other percussion 1. Walking, Trotting, Slow music. Always with changes in affect, nuance, articulation (Two or more voices) 1. Swaying Music
Checkpoint Observation 1
Checkpoint Observation 2
TBA
Checkpoint Observation 3
TBA
Checkpoint Observation 4
TBA
1. Skipping/Galloping music
Checkpoint Observation 5
TBA
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Repertoire Music to be performed from memory. The collection should represent a diverse array of music suitable for the eurhythmics classroom
Intermediate Repertoire Pieces 1-6
Playing for Movement Two or more voices unless otherwise stated In meters of 2, 3, or 4 unless otherwise stated
1. Running Music 2. Different derivatives of Anapest, Dactylic, and Syncope. 3. Augmentation and Diminution
Checkpoint Observation 6
TBA
Checkpoint Observation 7
TBA
Checkpoint Observation 8
TBA
Checkpoint Observation 9
TBA
1. Unequal Beats 5/8 and 7/8 2. Hand/feet dissociation 3. More Difficult Dance types: Gavotte, Samba, Rhumba, Bossa 1. Unequal Beats 3+3+2, 3+2+3, 2+3+3, 3+3+2+2 etc.. 2. Augmentation and Diminution in Polyrhythm. 3. Hand/feet dissociation 1. Metric transformation 2. Hemiola 3. Polyrhythms 4. Hand/feet dissociation 1. Cross rhythms: 2/3, 2/5, 3/4, 3/5, 4/5 2. Hand/feet dissociation 3. Metric Modulation
Checkpoint Observation
10 and Juried Exit Exam
TBA
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2. Melody
5. Repertoire Piece
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Intervals/Polychords:
Based on the 3 volume solfge texts of Dalcroze, students use Dalcrozes techniques to utilize intervals harmonically and melodically
Harmony: Students will sing, analyze, hear write and improvise using the following chords Triads in root position as arpeggios within a Major or Minor scale: Major, Minor, diminished and augmented First and second inversion triads as arpeggios in Major and Minor
Checkpoint Observation 1
Major C to C scales through 3 sharps and 3 flats with note names and numbers
Dichords, Trichords, and Tetrachords and their corresponding intervals (Major: no Aug. 2nds)
Checkpoint Observation 2
Major C to C scales through 7 sharps and 7 flats with note names and numbers
Checkpoint Observation 3
Minor C to C scales through 3 sharps and 3 flats with note names and numbers
Dichords through Pentachords and their corresponding intervals (Minor: with Aug. 2nds)
Seventh Chords in root position as arpeggios including the Dominant Seventh, its inversions, and their resolutions Applied chords: V7/V , V7/IV, and V7/III in minor (Major and Minor tonalities)
1. Phrase: Question and Answer 2. Compound meters of 2, 3, and 4 Singing from a rhythmic skeleton; phras
Checkpoint Observation 4
Minor C to C scales through 7 sharps and 7 flats with note names and numbers
1. Repetition, Contrast, and Motivic Development 2. Rhythmic skeletons 1. Chromatic alterations. More work with Repetition, Contrast, and Motivic development 2. Rhythmic skeletons
Checkpoint Observation 5
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Checkpoint Observation 7
Heptachords and their corresponding intervals. (Major: no Aug. 2ndsMM, Mm, dim min)
Checkpoint Observation 8
Checkpoint Observation 9
Hexachords as inverted seventh chords and their corresponding intervals. (MM, Mm, dim min)
More work with Hexachords as inverted seventh chords and their corresponding intervals (mm)
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In general, whatever subject is presented for a Checkpoint Observation, the student must be at ease with the subject material at the time of evaluation. Perfection is not the objective, but conviction is vital.
Good intonation and vocal modeling is required as well. Vibrato, belting, and vocal techniques that are not conducive for teaching children are not encouraged.
As a general policy, the C to C scales (also known as the Do to Do scales) will be sung using letter names and numbers. We will not use the French solfge syllables (fixed-do) for note names, but students are welcome to use moveable-do syllables when demonstrating function (Dobased minor or La-based minor is acceptable) at the Checkpoint Observations.
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3. Chords a. In regards to chords, students will be required to sing these chords melodically up and down as well as hear them harmonically. The majority of the focus will be on chord function and placement in a musical phrase or line, but sometimes chords will be extracted and studied, heard, sung in isolation. i. From the same note, the student must sing a diminished triad going up or down, followed by a minor triad up or down, followed by a major triad going up or down followed by an augmented triad going up or down ii. From a given note, the student must sing a particular chord and place it context of a tonality while improvising an antecedent or consequent phrase (for example, the student must sing a II chord up from r, and finish the phrase ending on the dominant) iii. The teacher plays a particular seventh chord in an inversion; using a sequence of falling fifths, the student must improvise arpeggios of seventh chords just until resolution to the tonic (for example, the teacher plays a III7 and the student must sing arpeggios of until he arrives at the tonic III7-VI4/3-II7-V4/3-I)
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4. Melody and Improvisation a. Students will be expected to learn how to construct phrases of varying lengths using compositional techniques from the common practice period and contemporary music. i. Given a particular rhythm, the student must improvise a period of phrases that clearly demonstrates antecedent and consequent relationships ii. Given a particular rhythm, the student must improvise a period of phrases that demonstrates elongation or truncation of the phrase relationships (irregular phrase lengths) iii. Given a particular melodic and/or rhythmic motif, the student must improvise a period of phrases that showcases the development of the motif through transposition, repetition, and contrast iv. Given a suite of key relationships, the student must improvise a series of phrases that demonstrates antecedent consequent relationships while modulating from key to key
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2. Intervals/Polychords
3. Harmony
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Methodology Units
Each group represents a unit of study that will correspond to the various Checkpoint Observations with the other Dalcroze branches. Each unit will have specific written work to be collected and placed in the students personal Portfolio.
1. Basic Tenants of the Philosophy Jaques-Dalcroze a. Introductions (note-taking, history, etc.) b. The importance of joy: uniting the mind, body, and spirit c. The need for discovery (i.e. theory follows practice) d. The body as instrument e. Fun=meeting a challenge f. The specific approaches that make a lesson Dalcrozian
2. How to Plan and Construct a Lesson for Children a. Ways stimulate imagination b. Ways to address different learning styles c. Maintaining Flexibility d. Sequencing
3. Techniques of the Dalcroze Teacher a. How to watch students b. How to give imaginative, constructive feedback c. Speaking from the piano d. Basics of teaching and improving movement technique
4. Incorporating Visual Art, Dance, Theater, and Plastique Anime in the Classroom a. Imagery and visual art b. Folk dance c. Creative expression with the body d. Story-telling and drama e. Basic principles of Plastique Anime
5. Use of Materials a. Different types of materials and for whom b. How to use certain materials and for what purpose c. Use of recorded music in the classroom d. Use of other instruments
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7. How to create a Spectacle a. Goals and objectives b. Applications for various venues and time frames c. Sets and costumes d. Lighting
8. How to Construct a Lesson for Adults a. Workshops b. Institutes c. Amateurs vs. Professionals d. Senior Citizens
9. Business Aspects a. How to start a program b. Educating parents c. Advertising d. Self-promotion e. Networking
10. Curriculum Development a. What is the purpose of a curriculum b. Various models c. How to keep flexibility and structure together
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Methods Schedule page 4 o Music Resources and Song Collections Easy Classics to Moderns Volumes 17 and 27, D. Agay Americas All-Time Favorite Songs, A. Appleby The Library of Childrens Songs Classics, A. Appleby and P. Pickow For the Children Volumes I and II, B. Bartk The Monsterpieces, W. Bolcom Petite Suite, J. Ibert Songs North America Sings, R. Johnston Album of Childrens Pieces op. 27 and op. 39, D. Kabalevsky Essential Keyboard Repertoire Volumes I and II, L. F. Olson Pictures for Children, V. Rebikov Album for the Young, R. Schumann Album for the Young, P. Tchaikowsky
Solfge Resources 5 Livres de Solfge pour Les Annes lmentaires de FEGM Folk Song Solfge, E. Crowe, A. Lawton, and G. Whittaker Cent Dictes,N. Gallon Music for Sight Singing, R. Ottman Rhythm and Pitch, J. Stevenson and M. Porterfield
Movement Resources First Steps in Teaching Creative Movement for Children, M. Joyce Principles of Dance, B. Mettler Laban for All, J. Newlove and J. Dalby
Improvisation Resources In the Mode, J. Kane Sketches at the Keyboard, L. Campbell Harmony and Voice Leading, E. Aldwell and C. Schachter Potpourri of Music for Improvisation, J. Yelin Fresh Recipes for Improvisation Books I, II, and III, J. Yelin
Additional Resources
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Licensure Requirements
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During their studies students must attend and participate as a teacher assistant in at least two childrens classes of varying age levels for one semester each level. In these classes, the students will practice teach several times with feedback provided by the supervising teacher. At the end of the semester, they must record their observations in a short essay.
During their studies, students must attend and participate in adult eurhythmics classes as a teacher assistant for one semester. In these classes, the students will practice teach several times with feedback provided by the supervising teacher. At the end of the semester, they must record their observations in a short essay. (Students may substitute one of the childrens classes and practice teach an extra semester of adult eurhythmics, solfge, or improvisation classes if they choose.)
Students must teach one childrens class and one adult class and submit this videoed material to a juried panel before they take their final exit exams.
At the end of their studies, but before their exit exams, students must submit a portfolio with the following materials o o Observation Reports from both Adult and Childrens Classes 5 Short essays, each describing a different musical subject from the different branches of Dalcrozian study (The division of twelve eighths, the different espce of heptachords, principles improvisation for movement, etc.) o 5 Short essays, each describing a different approach Dalcrozian (Inhibition, Dissociation, etc.) o o o o o The collection of folk songs from improvisation exams The collection of piano literature from improvisation exams A collection of sequenced lesson plans taught (At least 3 for children and 3 for adults) Materials from the business and marketing component of the methods course Other written assignments from the methods course
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When students have completed all of their exit examinations in Eurhythmics, Solfge, and Improvisation, turned in their portfolios, and have successfully completed their teaching examinations, they will receive the internationally recognized Dalcroze License that, under the auspices of the Collge de lInstitut Jaques-Dalcroze, confers the right for them to teach the method Jaques-Dalcroze to children and adults and use the name Jaques-Dalcroze in their advertisements and course descriptions.
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Methods Requirements Completed Portfolio Video of Childrens Eurhythmics Class Video of Adults Eurhythmics Class Exit Interview Attendance of an Authorized Dalcroze Summer Institute Institution:____________________________ Other Requirements:
Date Completed
Other Requirements:
Other Requirements:
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a. Spirit of Play
b. Sense of Discovery (theory follows practice) c. The Body as an Instrument d. Arousal of Joy (uniting mind, body, and spirit) e. Use of Dalcrozian Approaches 2. Lesson Structure
a. Sequencing
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i. Phrase
ii. Variety of Tonalities, Modes, Pianistic Styles etc. iii. Use of Nuance and Affect b. Vocal Quality (if appropriate)
i. Appropriate Range
ii. Intonation
i. Appropriate Modeling ii. Rapport of the Gestures to the Music iii. Use of Partners and other Group Activities
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Commentary 4. General Pedagogical Considerations a. Ability to Watch Students During Movement Activities b. Use of Signals and Commands from Piano c. Use of Materials (if appropriate) d. Overall Musicality of the Lesson e. Relevance to Musical or Corporal Concepts
5. Other Comments:
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