Intermediate Course Syllabus, Final updating, April 2020

DALCROZE INTERMEDIATE COURSE SYLLABUS

The three principal branches of Dalcroze Eurhythmics—Rhythmics, Solfège (Aural training) and
Improvisation—“are interdependent and stand in close relationship with one another. Each offers tools
to serve the others and throws light on certain aspects of them.”1

In the Dalcroze method, body movement leads to “active listening, forming a link between what is
experienced through movement and what is understood about music.”2

The relationship between music and movement is at the core of the Dalcroze education.

Preliminary remarks
Many of the same elements will recur throughout training in Dalcroze Eurhythmics. The difference
between the coursework and examination contents for the Foundation, Intermediate, Certificate and
Licence lies in the complexity, subtlety, sophistication and precision of what is asked. It should be
possible to set the same piece for two levels but expect to see a higher level of awareness, control and
interpretative ability and a more mature understanding at the higher level.

RHYTHMICS: THE MOVEMENT CONNECTION AND MOVEMENT TECHNIQUE

OBJECTIVES
• To experience and express the elements of music through whole body movement
• To sense, feel, analyse and understand music-movement relationships
• To communicate with and respond to others sensitively and artistically
• To be creative in all aspects of the work
• To develop ease, fluency and musicality in movement
• To develop a substantial movement vocabulary
• To consolidate the work accomplished at the Foundation level

CONTENT
Technique
• Posture and alignment
• Balance, Centredness, Groundedness
• Basic movements (extension, flexion, rotation, circumduction)
• Basic actions (locomotor and non-locomotor actions of all kinds and at all speeds)
o Simple and compound skips; a variety of skipping styles—the “6” skips
o Swings with pas chassés and changes of direction
• Body shapes and dimensions
• Breathing
• Relaxation: progressive, immediate

1
Le Collège de l’Institut Jaques-Dalcroze, The Dalcroze Identity. Professional training in Dalcroze Eurhythmics: theory and
practice, 2019, p. 9
2
Ibid, p. 17

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Intermediate Course Syllabus, Final updating, April 2020

• Association/Dissociation/Co-ordination of movement
• Eye focus; eye/hand co-ordination
• Notions of space (axes, plans, levels, directions)
o Three-dimensional space
o Expressive use of space
• Pathways (in the room, on the floor)
• Energy of movement
o Flow: bound/free
o Weight: strong/light
o Time: quick/slow
o Space: direct/indirect
o Successional flow
o Continuous movement
• Expressive qualities of movement (dynamic and agogic nuances)
• Precision of gesture and clarity of articulation
• Points of departure and arrival of a gesture (preparation and timing)
o Initiating movement from the centre/periphery/breath
o Anacrusis, crusis, metacrusis
• Movement sequences: development of memory
• Manipulation of objects
• Partner work:
o Roles between participants (do the same, the contrary, to complement each other, lead
and follow, to mirror, action-reaction)
o Spatial relation (facing each other, back to back, side by side, to meet, to depart…)
o Time relation (unison, alternate, canon)

Metrics
• Pulse and tempo: imitate; internalise; recall; adapt to changes
• Relative tempo: 2,3,4 times faster/slower than the pulse or beat
• Metre: 2/4; 3/4; 4/4; 5/4 6/8. Follow changes using a ball or body accent
• Recognition of compound metres (9/8 and 12/8)
• Introduction to unequal beat: e.g. 5/8, 7/8, 8/8, and unequal divisions of 9
• Basic transformation 6/8 and 3/4
• Technique of full-arm beating. Metrical analysis using full arm beats: On and off the beat.
• Beating and stepping simple rhythm patterns
• Expressing rhythm patterns in body movement
• 2 skips (simple and compound)
• Rhythmic ostinato using body movement and stepping. Maintain a given rhythm pattern
responding to changes of speed and dynamics
• Quick dictation: clap, step and write a two-bar rhythm heard once.
• Rhythmic dictation in 2/4, 3/4, 4/4, 5/4, 6/8, 5/8: 4 bars long.

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Intermediate Course Syllabus, Final updating, April 2020

• Note values for dictations to include: crotchet, quaver, triplets, semiquavers, minim, dotted
minim, semibreve, dotted crotchet.
• Introduction to tied notes
• Syncopation in simple and compound time
• Cross-rhythm: 2:3 as right and left hands; hands and feet, opposite a partner
• Twice as fast and slow (simple)
• Quick response: at a signal, perform a subdivision or rhythm pattern once only on the following
beat; at a signal, change direction
• Rhythmic canon in 2/4, 3/4, 4/4, 6/8
• Complementary rhythm (hands and feet)
• Simple polyrhythm
• Two speeds at once e.g. crotchets against quavers following treble and bass
• Anacrusis (up-beat, anacrusic rhythm)
• Rests and silences
• Hearing and following the bass

Expression and Plastique

• Levels of space (high, middle, low) as individual and group work
• Seeing spaces: filling the space in a shape
• Size of space linked to intervals and dynamics
• Imitation of shape
• Dynamic and agogic nuances (staccato-legato, pesante-leggiero, pp-ff, crescendo-diminuendo;
accelerando-rallentando; Accent and Emphasis
• Phrase, phrasing, cadence: alone/in pairs/threes show phrase length, as change of direction,
change of arm, change of person etc.; line, quality and cadence with and without equipment
• Form and Structure: AB, ABA, Rondo, canon, variation
• Dramatic development
• Partner work:
o Roles between participants (do the same, the contrary, to complement each other, lead
and follow, to mirror, action-reaction…)
o Spatial relation (facing each other, back to back, side by side, to meet, to depart…)
o Time relation (unison, alternate, canon…)
• Qualities of movement and more extended list of movement words
• Symmetry/asymmetry as expressive means
• Polyrhythm and polymetry as group exercises
• Solo, pair and group shapes
• Large, medium and small space as expressive means
• Simple Augmentation and Diminution (of phrase length, of duration and space)
• Create a short movement piece using an object
• Create a short movement piece using a visual image or text

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Intermediate Course Syllabus, Final updating, April 2020

• Choose a piece of musical repertoire and interpret it in movement showing form, silences,
contrasts, foreground and background, dynamics, texture, mood.

EXAM
This practical exam is taken as a group of 3 to 6 candidates. The exam covers four areas: Follows,
Metrical Analysis, Association/Dissociation and Expressive work. Duration: approximately 40 minutes
plus the creative work (estimate 1 ¼ hours).

Candidates will be expected to demonstrate:

• A good knowledge of music through movement
• An ability to respond to the expressive power of sound
• Mental and physical co-ordination and aural sensitivity
• Control of pulse and rhythmic accuracy
• Controlled and spontaneous responses to musical or verbal signal
• Mental alertness, adaptability and memory of pattern
• General quality of movement: ease, fluency and musicality
• Good technical use of the body
• A substantial movement vocabulary
• Appropriate use of space in all tests and an ability to share space with others
• An ability to interpret music expressively and artistically

The quality and appropriateness of gesture will be considered as important as rhythmical accuracy, and
credit will be given for an aesthetic and well-communicated performance throughout the exam.

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COURSEWORK: AURAL TRAINING

Fixed or moveable Doh systems are acceptable. Hand signs, numbers and letter names as well as solfa
syllables are used. It would be useful to find a way for those using fixed Doh to show tonal relationships
(by using numbers) and semitone alterations (perhaps by using syllables, gesture or body shape) since
using the same syllable for different pitches such as Sol for G, G sharp, G flat, G double sharp or flat
would seem to mean singing something that is not quite accurate. Those using a moveable Doh system
need also to use fixed pitches (singing letter names).

OBJECTIVES
• To develop aural abilities including inner hearing and memory
• To master dissociations combining pitch and rhythm
• To connect ear, eye and voice and develop sight-singing and literacy skills
• To develop and create coherent and shapely melodies
• To build on the skills acquired at Foundation level developing security and fluency in a
greater range of intervals and chords and the contexts in which they are used
• To develop musical communication

CONTENT
Voice production, Intonation, Communication
• Voice production and intonation
• Exercises in matching tones
• Exercises in breath and breath support
• Formation of vowels and consonants
• Development of range
• Singing runs accurately
• Legato singing
• Singing in tune with another singer
• Vocal warm-ups
• Sing a song with its text

Tonal Vocabulary
Construction, Recognition and Sight-Reading
• Intervals (ascending and descending): M2, M3, m2, m3, P4, P5, M6, m6, M7, m7, P8
• 5 Pentatonic scales
• Modes: Ionian, Aeolian, Dorian, Mixolydian, Lydian and Phrygian
• Scales: Diatonic Major, Natural Minor, Relative Melodic and Harmonic Minors up to three sharps
and flats
• C to C followed by the Tonic (up to 3 sharps and flats)
• Scales on rhythm patterns
• Chromatic alteration with modulation to the relative major/minor
• Dichords, Trichords, Tetrachords, Pentachords in Major, Natural, Harmonic and Melodic minors
scales
• Sing back in solfa, note names or numbers a melody played or sung (two phrases)

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Intermediate Course Syllabus, Final updating, April 2020

• Sing back 2 phrases played out of the student’s vocal range

• Sight singing while beating time (includes 6ths, chromatic alterations and modulation to the
relative major/minor)
• Part-singing and canons

Improvisation
• Clap or patsch a rhythmic ostinato while singing an improvised and rhythmically independent
melody: Pentatonic, modal or diatonic Major
• Continue the melody from a given opening

Chords
• Chord identification (root, first, second inversion)
• Diatonic chords in Major (I, IV, V, ii, vi): Improvise vocally on them using passing and changing
notes
• Diatonic chords in minor (I, iv/IV, V): Improvise vocally on them using passing and changing notes

Dictations
• Melodic dictation (up to three sharps and flats). Stepwise and with leaps of 3rd, 4th and 5th
• Harmonic dictation (up to three sharps and flats).
1. Dictation in close position: Write down a sequence of 8 – 12 triads played in 3-part close
position. Write the notes on the stave.
2. Dictation in open position (4-part across treble and bass clefs): Write the chord numbers (as
Roman numerals or Figured Bass (e.g I 6/3)

The following triads will be included (Root, First and Second inversions):
o Diatonic Major key: I, ii, IV, V vi, vii and V7
o Diatonic minor key: I, iv, V, VI, vii and V7
o For V7 also in 3rd inversion.

Composition
• Word setting of a given text in simple and compound time. Change of metre.

EXAM
The exam is taken individually (except for the dictations which all candidates take together) and covers
scales, intervals, triads, pitch recognition, melodic improvisation, sightsinging, performing a song and
dictations. During exam both fixed or moveable Doh systems are acceptable.
Candidates will be expected to:
• Sing in tune with good breath control
• Shape their phrases well
• Communicate and interpret any text clearly
• Respond promptly
• Maintain tempo
• Create good musical structures when improvising

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The quality of singing and expression will be considered as important as accuracy in pitch and note-
recognition, and credit will be given for an aesthetic and well-communicated performance
throughout the exam.

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Intermediate Course Syllabus, Final updating, April 2020

COURSEWORK: IMPROVISATION

OBJECTIVES
• To provide students with simple and effective ways and means of improvising, vocally and
instrumentally that include gesture, movement and ensemble work
• To build a tonal vocabulary for improvising in diverse styles: atonal, modal and diatonic
• To consolidate the foundations for descriptive improvisation and for inciting a response in
movement
• To link ear, eye, inner hearing, imagination and instrumental technique
• To develop the memory and sense of structure

CONTENT
Instrumental and Tonal Exploration
• Bruitages (vocal sounds) and body percussion; transfers of these to instruments
• Use of small percussion instruments
• Exploration of the full tonal and dynamic range of own instrument and piano: one, two and three
note pieces; sound/silence, legato/staccato, long/short, high/low; touch and articulation;
dynamics; use of tessitura.
• Transposition of material, contrast
• Atonal improvisation including all intervals, clusters, 3rds and 10ths, Tritone, Quartal harmony
• Repertoire suitable for use as models for playing for natural movement and for teaching.
• Repertoire exploring diverse aspects of tonal and rhythmic vocabulary, forms and styles

Form and Development of Memory

• Question and Answer phrases
• Two-part playing
• Continue from a given opening
• Improvise a free melody over an ostinato rhythm
• AB; ABA; Rondo; Canon; Theme and Variations
• Arrangement/accompaniment of a melody

Mood, Movement and Style

• Creating mood, descriptive music based on a topic, picture, poem, dramatic dialogues
• Playing for natural movement (walking, jogging, striding, skipping, galloping, swaying, running…)
• Improvisation for dances: waltz, tango, minuet other dances
• Playing for accelerando, rallentando, crescendo/diminuendo
• Playing for a movement with an object (ball, hoop...)
• Playing for someone else moving
• Playing for changing shape slowly and stretching

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Tonal and Harmonic Vocabulary

• Modes: Ionian, Aeolian, Dorian, Mixolydian, Lydian and Phrygian
• Diatonic Major modes up to 3 sharps and flats and their relative minors
• Chord progression (diatonic and modal)
• Harmonisation of Major and minor scales up to 3 sharps and flats
• Melodic and harmonic modulation to nearly-related keys such as relative minor/major,
dominant, subdominant, supertonic and median minors
• Using pivot notes and chords
• Diatonic final cadences and their melodic approaches: V – I; V7 - I; Ic – V – I; IV – I; iib – V – I

Rhythmic Vocabulary
• Play in the following metres for changing bar-time: 2/4; 3/4; 4/4; 5/4; 6/8; 5/8
• Improvise on a given rhythm (including syncopated rhythms)
• Play for 2 note-values simultaneously and swap parts (two-part playing)

Solo and Ensemble

• Accompaniments and ostinati using intervals
• Solo, partner and group improvisation
• Improvisation using rules (e.g. when one plays low the other plays high; fast/slow
staccato/legato. Always a pair of quavers on the first beat. Improvise on a given rhythm. One as
melody one as accompaniment and change roles. Play in the partner’s rests, etc.)

EXAM
The exam is taken individually with the exception of the pair and group work.

Candidates will be expected to:

• Play with a good touch
• Show fluent command of the instrument in simple playing
• Demonstrate a good dynamic range
• Shape phrases well
• Maintain tempo
• Demonstrate an ability to create musical structures and use thematic material when improvising
• Demonstrate an ability to play music for natural movements effectively
• Respond well to the partner in the duet.

The quality and expressivity of playing/singing and ensemble skills will be considered as important as
accuracy in pitch harmony and rhythm, and credit will be given for an aesthetic, creative and well-
communicated performance throughout the exam.

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WRITTEN WORK

The written work for the Intermediate Award is extensive. It is designed to demonstrate that the holder
has a thorough grounding in the Dalcroze practice and at the same time to form the basis of a personal
library of material for including Dalcroze work in the context of his/her own work that can be built on
over time and a retrieval system. All candidates are strongly advised to keep a record of all classes
attended and include titles and composers of any repertoire used in the classes. While arrangements may
be made with teachers in preparing the written work that include coaching through the use of email or
Skype, all final submissions should be sent or handed to the examiner in two formats: a hard (paper) copy
and an electronic copy. Include a table of contents and page numbers in your submission.

1. PERSONAL STATEMENT
a. Name (as you want it to appear on the award), address and contact details (email, telephone).
b. Academic record: education, training and qualifications.
c. Description of candidate’s background and encounter with Dalcroze Eurhythmics and primary
interest for eventual application of the work.

2. DESCRIPTION OF RHYTHMICS, AURALTRAINING AND IMPROVISATION CLASSES

Describe three (3) Rhythmics classes, two (2) Aural training classes and two (2) Improvisation classes you
have taken with qualified Dalcroze teachers (you must have participated in the lesson not simply
observed it).
Descriptions should include:
a. Teacher’s name; date; place; length of lesson
b. Aims and purpose of each exercise (e.g. was it a tune-up, quick reaction, ‘follow,’ dissociation, or
plastique exercise? To help you with the descriptions, see below The Dalcroze Subjects (Appendix
A, p. 18). These subjects provide a framework for studying and analysing your experience in class.
They are divided in three lists: list A relates to the elements of music and movement; list B
relates to the processes and methods of teaching and learning; and list C relates to the faculties,
abilities and qualities practised and developed.
c. Titles and composers of any musical repertoire (played or on CD) used in the lesson. All
repertoire should be referenced: Title, composer. If it is an arrangement say where it comes
from CD tracks: should include title, composer/arranger and the name of the CD.
d. Personal response to the physical and musical experiences. For example, what particular
challenges arose for you? Did your perceptions and awareness change? What did you observe of
the group experience? What aspects were enjoyable for you?
e. Relevant diagrams, drawings, music notation and/or floor patterns may be included.

This written work must be in English. If English is not your first language, you may receive assistance
from a native English speaker for a translation. The translator should not alter the content in any way.
The work should be presented as a word-processed document (1.5 spaced).

Total length: Maximum 3,400 words (plus drawings, diagrams, and any necessary rhythmic or melodic
notation). As a guideline, it is suggested that you write a maximum of 600 words for each rhythmics
lesson, 400 for aural training and 400 for improvisation.

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3. DESCRIPTIONS OF EXERCISES
Acknowledge all sources and reference all repertoire. If you do not remember who you learnt the exercise
from write “source unknown”. In this way it will be clear that you are describing something you have
learnt from someone else and not an exercise of your own devising.

a. Movement
These exercises can come from warm-ups, movement preparation or movement technique and body-
awareness lessons and relate to physical awareness and good use of the body without excessive tension
that can be applied in instrumental teaching, class teaching or therapeutic situations.
• One (1) exercise for improving the sense of balance
• One (1) exercise for improving the sense of centre and grounding
• One (1) exercise for improving alignment
• One (1) exercise for developing articulation of the limbs and the range of movement.
• One (1) exercise for improving eye-hand co-ordination

b. Rhythmics
• One (1) exercise in developing internalisation
• One (1) exercise for developing the sense of pulse, tempo and/or duration
• One (1) exercise for developing the sense of metrical accent or emphasis
• One (1) exercise in following the music
• One (1) exercise in rests

c. Aural and Improvisation

• One (1) exercise in inner hearing
• One (1) exercise to help with pitching intervals (solfa)
• One (1) exercise for developing musical memory and structure (solfa or improv)
• One (1) exercise approaching a perfect (final) cadence (modal or diatonic)

d. Social
• One (1) exercise to develop the ability to lead and to follow
• One (1) exercise for developing the ability to work with a partner
• One (1) exercise for developing the ability to work as a group.

4. PORTFOLIO OF SONGS AND MUSIC

A list of the material presented in the Foundation portfolio should be included; none of this material can
be presented in the Intermediate Portfolio.

Portfolio of songs, pieces of music (original and from repertoire), exercises and games for teaching.
Portfolio to include:
a. Pieces for teaching natural movement:
• Two (2) examples for walking (ordinary walk and slow walk or striding)
• Two (2) examples for running (1 in duplets (jogging or trotting) and 1 in triplets)
• Two (2) examples for skipping (high skips (simple) and long skips (compound))
• Two (2) examples for swaying
• One (1) example for jumping or leaping

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Intermediate Course Syllabus, Final updating, April 2020

• One (1) example for galloping

These pieces should be in different tonalities and metres. Candidates must be able to play/sing them
fluently.

b. Forms and styles:

• Three (3) dances in different metres
• One (1) descriptive piece (programme music)
• One (1) example of each of the following forms: AB and ABA.

c. Pieces for aural training

• One (1) Diatonic Major song
• One (1) diatonic minor song
• Two (2) modal songs (state the mode used. Pentatonic, 6 or 7 note modes)
• One (1) canon
All musical examples should be clearly labelled with the purpose for including the example (e.g. swaying
tune) and correctly referenced with acknowledgement of sources and composers.

5. ESSAY ON THE APPLICATION OF DALCROZE EURHYTHMICS WITHIN YOUR PROFESSION

This essay may relate to classroom, college, music centre, studio, drama, dance or cross-curricular
teaching, conducting, performance or therapeutic work. The level of expression should be suitable for
publication in a Music Teachers’ newsletter or journal.

The essay should include:

a. Reference to specific issues which arise in the candidate’s field and illustrations of how Dalcroze
strategies can be applied to overcome them;
b. An understanding of the main principles underlying the Dalcroze approach to musicianship;
c. Evidence of reading the literature;
d. Correct referencing of musical and other examples;
e. Appropriate acknowledgement of sources.

When quoting an author, indicate your source as follows:

“In his pedagogical endeavour, Jaques-Dalcroze began to apply bodily movement to make his
students’ musical experiences and understandings more embodied, that is, more rooted in
perceptions and bodily, lived experiences” (Juntunen, 2016, p. 142).

“I set my pupils exercises in stepping and halting, and trained them to react physically to the
perception of musical rhythms. That was the origin of my ‘Eurhythmics’…” (Jaques-Dalcroze, in
Wedin, 2015, p. 20)

At the end of your paper, add the list of references mentioned in your work (use the referencing system
of the Mandatory reading list below).

Total length: Maximum 1,700 words. This paper should be presented as a word-processed document
(1.5 spaced, Times New Roman font, size 12).

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Intermediate Course Syllabus, Final updating, April 2020

6. THE DALCROZE SUBJECTS

One subject from the given list (see below) is to be explored in each of the following categories:
a. The Natural world
b. The world of human experience (this could include any events or situations in which people are
involved: sport, education, relationships of various kinds, politics, lived environment)
c. The arts (e.g. poetry, architecture, dance, film, drama, painting etc.)
d. Music. Candidate must choose three (3) music pieces (only include the relevant bars from
selected works and annotate clearly).
e. Teaching. For the chosen subject devise:
• One (1) exercise for beginners including its preparatory stages
• One (1) exercise more advanced students including its preparatory stages
These exercises may be for rhythmics, aural training or improvisation. The description should
include a comment on the methods used and the abilities or qualities taught or acquired through
working in this way (see Lists B and C of The Dalcroze Subjects in Appendix A, p. 18)

Length of each paper: 1000 words maximum (plus drawings, diagrams, poems and any necessary
rhythmic or melodic notation) (1.5 spaced, Times New Roman font, size 12).

Subjects list: Music and Movement

• Pulse and Tempo
• Metre and measurement
• Accent and emphasis
• Rhythmic pattern
• Silence
• Phrase and shape
• Dynamics
• Structure
• Repetition and contrast
• Imitation
• Time, Space, Energy
• Anacrusis

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MANDATORY READING LIST

Brice, M. (2004). The Unfolding Human Potential – Dalcroze Eurhythmics. Geneva: Editions Papillons.
Findlay, E. (1971). Rhythm and Movement, Applications of Dalcroze Eurhythmics. New Jersey: Summy-
Birchard.
Haselbach, B. (1971). Dance Education: Basic principles and models for Nursery and Primary School.
London: Schott
Jaques-Dalcroze, E. (1921/2000). Rhythm, music & education, Harold Rubenstein (trans.). Morgan Baker,
Ashford, Kent: The Dalcroze Society (Inc.).
Joyce, M. (1980/1994) First steps in teaching creative dance to children (3rd. ed), Mountain View CA:
Mayfield Publishing Company.
Wedin, E. N. (2015). Playing music with the whole body: Eurhythmics and motor development.
Stockholm: Gehrmans Musikförlag AB.

ADDITIONAL READING (Optional)

Dalcroze Eurhythmics (foundations and principles, practical exercises)
Abramson, R. M. (1986). The approach of Émile Jaques-Dalcroze. In Choksy, L. R. Abramson, R. M.,
Gillespie, A. & Woods, D. Teaching music in the twentieth century. Englewood Cliffs, NJ:
Prentice-Hall. 27-69
Aronoff, F. W. (1979). Music and young children. New York, NY: Turning Wheel Press.
Bachmann, M.-L. (1991). Dalcroze today: An education through and into music (D. Parlett, Trans.).
Oxford: Oxford University Press (Original work published 1984).
Comeau, G. (1995). Comparing Dalcroze, Orff and Kodaly. Vanier, Ontario: CFORP.
Driver, A. (1936). Music and Movement. London: Oxford University Press.
Driver E. (1951). A Pathway to Dalcroze Eurhythmics. London: Thomas Nelson and Son.
Fédération internationale des enseignants de rythmique (2007). Chemins de rythmique/Paths to
rhythmics. Genève, Suisse: Editions Papillon.
Fédération internationale des enseignants de rythmique (2014). Chemins de rythmique/Paths to
rhythmics. Genève, Suisse: Editions Papillon.
Fédération Internationale des Enseignants de Rythmique (FIER), (2005). Le Rythme. Genève: FIER
https://www.fier.com/uploads/pdf/Le-Rythme-2005.pdf
Fédération Internationale des Enseignants de Rythmique (FIER), (2007). L’essence de la rythmique.
Eurhythmics essence. Genève: FIER https://www.fier.com/uploads/pdf/le-rythme-2007.pdf
Fédération Internationale des Enseignants de Rythmique (FIER), (2009). Le Rythme: 1909-2009. Genève:
FIER https://www.fier.com/uploads/pdf/le-rythme-2009.pdf
Fédération Internationale des Enseignants de Rythmique (FIER), (2011). Musical improvisation. Genève:
FIER https://www.fier.com/uploads/pdf/LeRythme2011.pdf
Fédération Internationale des Enseignants de Rythmique (FIER), (2013). What did you say? Solfège?/Vous
avez dit solfège? Genève: FIER https://www.fier.com/uploads/pdf/le-rythme-2013.pdf
Fédération Internationale des Enseignants de Rythmique (FIER), (2017). L’interprétation corporelle.
Genève: FIER https://www.fier.com/uploads/pdf/lerythme2017.pdf
Fédération Internationale des Enseignants de Rythmique (FIER), (2019). Scientific perspectives. Artistic
research and theory. Genève: FIER https://www.fier.com/uploads/pdf/le-rythme-2019.pdf
Greenhead, K. (2013). Aural training in the Dalcroze practice. In Fédération Internationale des
Enseignants de Rythmique (FIER), Le Rythme 2013, 22-25 Genève, Suisse: FIER.
https://www.fier.com/uploads/pdf/le-rythme-2013.pdf

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Greenhead, K. (2009). Plastique Animée: yesterday, today and tomorrow…? In Fédération internationale
des enseignants de Rythmique, Le Rythme 2009, 37-40. Genève, Suisse: FIER
https://www.fier.com/uploads/pdf/le-rythme-2009.pdf
Hoge Mead, Virginia. (1994). Dalcroze Eurhythmics in Today’s Music Classroom. New York: Schott Music
Corporation.
Jaques-Dalcroze, E. (1930). Eurhythmics, art & education, Frederick Rothwell (trans.), Cynthia Cox (ed.).
London: Chatto & Windus.
Le Collège de l’Institut Jaques-Dalcroze (CIJD) (2019) L’identité Dalcrozienne/The Dalcroze identity.
Genève: CIJD https://www.dalcroze.ch/lijd-et-la-rythmique/institut-dalcroze-college/
Nash, S. (2009). Some issues relating to Movement technique for Dalcroze Eurhythmics. In Le Rythme
2009, 67-71. Genève, Suisse: FIER. https://www.fier.com/uploads/pdf/le-rythme-2009.pdf
Pope, J. (Editor). (2006). Dalcroze Eurhythmics: Music through Movement. A hundred lessons and
thousands of ideas for Early Childhood Education by Australian master teacher Heather Doris
Gell. Turramurra: Heather Gell Dalcroze Foundation.
Schnebly-Black, J. Moore, S. F. (2004). Rhythm: One on One – Dalcroze activities in the private music
lesson. Van Nuys, CA: Alfred Publishing Co. Inc.
Schnebly-Black, J. & Moore, S. F. (1997). The Rhythm Inside. Connecting Body, Mind, and Spirit Through
Music. CD included. Van Nuys CA : Alfred Publishing Co. Inc.
Steinitz, T. (1988). Teaching Music in Rhythmic Lessons. Theory and Practice of the Dalcroze Method. Rafi
& Bruno Reinhardt (ed.). Tel-Aviv: OR-TAV, Music Publications.
Urista, D.J. (2016). The Moving Body in the Aural Skills Classroom: A Eurhythmics Based Approach. New
York: Oxford University Press.
Vanderspar, E. (2005). Teaching Rhythmics: principles and guidelines for teachers of Dalcroze
Eurhythmics. London: The Dalcroze Society UK (Inc.)
Weber, M. (2019). Rhythmics, Solfege… A path towards music. (Eng. translation, M. Brice.)
Geneva: Jaques-Dalcroze Institute.

Movement (technique and creative exercises)

Blom, L.A. & Chaplin, L.T. (1982). The Intimate act of choreography. Pittsburgh Pa: University of
Pittsburgh Press
Blom, L.A. & Chaplin, L.T. (1988). The moment of movement: Dance improvisation. Pittsburgh Pa:
University of Pittsburgh Press
Haselbach, B. (1976). Improvisation, Dance, Movement. Magnamusic-Baton
Hawkins, A. M. (1991). Moving from within: a new method for dance making. Chicago IL: A cappella
books.
Hannford, C. (2011). The dominance factor. Salt Lake, USA: Great River Books
Joyce, M. (1984). Dance technique for children, Mountain View CA: Mayfield Publishing Company.
Morgenroth, J. (1987). Dance Improvisation. Pittsburg: University of Pittsburgh Press.
O’Conner, A. & Daly, A. (2016) Understanding physical development in the early years. Routledge
Von Papendorp, J. & Friedman, S (1997). Teaching creative dance: a handbook. Kwela Books
Yelin, J. (1990). Movement that fits. New Jersey : Summy Birchard

Improvisation and Piano playing

Campbell, L. (1982). Sketching at the keyboard. London: Stainer & Bell.
Campbell, L. (1986). Sketches for improvisation. London: Stainer & Bell.
Kirkpatrick, R. (Ed.)(1953). Preface; Performance, In Scarlatti: Sixty sonatas in two volumes (Vol 1). New
York: G. Schirmer Inc. (pp.v-xvii)

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Intermediate Course Syllabus, Final updating, April 2020

Mann, A. (1971). The study of counterpoint from Johann Joseph Fux’s Gradus ad Parnassum.Translated
and edited by Alfred Mann. W.W. Norton & Company Inc.
Nachmanovitch, S. (1993). Free play: improvisation in life and art. New York: Penguin Putnam Inc.
Reger, M. (2007). Modulation. Dover Publications.
Rossoff, S. (1997). Abby Whiteside on piano playing: Indispensables of piano playing. Portland, Oregon:
Amadeus Press.
Thurmond: J. M. (1991). Note grouping: A method for achieving expression and style in musical
performance. Florida: Meredith music publications.

Therapeutic applications
Berger, D. S. (2016). Eurhythmics for autism and other neurophysiologic diagnoses: A sensorimotor
music-based approach. London: Jessica Kingsley Publishers.
Dutoit, C-L. (1971). Music movement therapy. London: The Dalcroze Society. (An extract from the original
1965 publication Émile Jaques-Dalcroze. L’homme, le compositeur, le créateur de la rythmique.
Neuchâtel: de la Baconnière.

ADDITIONAL RESOURCES
ASPRYJAD (2010). La rythmique, le solfège, un chemin vers la musique [DVD]. Genève, Suisse:
Association suisse des professeurs de rythmique Jaques-Dalcroze (ASPRYJAD).
Dalcroze Society of America. Dalcroze Eurhythmics with Lisa Parker. Retrieved February 11, 2020 from
https://www.youtube.com/watch?v=wEyyeoc_t-U
Dalcroze Canada. Dalcroze Eurhythmics with Louise Mathieu. Retrieved February 27, 2020 from
https://www.dalcrozecanada.com/index.php/en/
EDCHAT (2013). Dalcroze Eurhythmics. Retrieved March 24, 2020 from https://youtu.be/gMMn3HoTlHc
Jaques-Dalcroze Society of Japan (2004). Twenty rhythmicians worldwide speak: The essence of Dalcroze
Eurhythmics [DVD]. Tokyo, Japan: Jaques-Dalcroze Society of Japan.
Meerkat Films (2005). The movement of music [DVD]. Newcastle: Meerkat Film Productions Ltd.
Meerkat Films (2007). Dalcroze International Congress Archive Film - Geneva 2007 [DVD]. Newcastle:
Meerkat Film Productions Ltd.
Meerkat Films (2008). Teaching Dalcroze Eurhythmics: Rhythmics for children [DVD]. Newcastle: Meerkat
Film Productions Ltd.
Meerkat Films (2011). Dalcroze solfège with Lisa Parker [DVD]. Newcastle: Meerkat Film Productions Ltd.
Meerkat Films (2011). Dalcroze for seniors and children with special learning difficulties [DVD].
Newcastle: Meerkat Film Productions Ltd.
Meerkat Films (2011). Dalcroze for string teaching [DVD]. Newcastle: Meerkat Film Productions Ltd.
Meerkat Films (2014). Dalcroze – Plastique Animée [DVD]. Newcastle: Meerkat Film Productions Ltd.

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7. GENERAL ASSESSMENT CRITERIA FOR THE WRITTEN WORK EXAMINATION

Candidates must pass each of the six sections of the written examination. To pass the exam the
candidate’s work should be well presented. It should provide correct information, clear referencing and
good and succinct descriptions of lessons and exercises. The essay must show clear applications of the
Dalcroze principles. Any diagrams must be suitable and correct. Higher marks will be given to those
whose comments show exceptional insight into the methods used by the teacher and an understanding
of Dalcroze principles and practice.

Marking Bands

Fail: 0-59 Insufficient. Many inaccuracies and an inadequate understanding of the material.

Pass: 60-69 Competent but thin descriptions. Minor inaccuracies. Little connection made between
diverse aspects of the work.

Commended: 70-79 Clear and consistent presentation with good descriptions and explanations of
lessons and exercises and good observations on the candidate’s experiences in lessons. The submission
shows a sound but basic understanding of the Dalcroze approach and learning process and suitable
musical choices for the portfolio. Few errors.

Highly Commended: 80-89 Well presented with comprehensive descriptions and explanations of lessons
and exercises and a good understanding of their purpose. Very good reflection on experiences in lessons
and choice of musical examples for the portfolio. A comprehensive application of Dalcroze principles and
practices.

Distinction: 90-95 Excellent presentation and descriptions of lesson and exercises showing a clear
understanding of their purposes and containing insightful observations on experiences in lessons. An
interesting choice or arrangement of musical examples for the portfolio. A comprehensive application of
Dalcroze principles and practices. Evidence of a detailed study of the required readings and beyond
showing an excellent understanding of Dalcroze characteristics and the learning process. Very well
referenced.

High Distinction: 96-100 Outstanding presentation and descriptions of lessons and exercises showing an
insightful understanding of the subtleties and range of Dalcroze teaching and the candidate’s lived
experience of it. An excellent ability to reflect on experience, to analyse, to synthesise and to draw
conclusions. The portfolio contains very interesting musical examples. A comprehensive application of
Dalcroze principles and practices. Evidence of rigour and imagination in a detailed study of the required
readings and considerable research beyond this list that displays an outstanding grasp of the
characteristics and learning process in Dalcroze Eurhythmics and the overall potential of this method.

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APPENDIX A

THE DALCROZE SUBJECTS

During the course of study candidates will engage with the Dalcroze Subjects in many different ways and
should start thinking about these in the context of lesson descriptions and personal notes. The following
is taken from the document Le Collège de l’Institut Jaques-Dalcroze (2019). The Dalcroze Identity.
Professional training in Dalcroze Eurhythmics: Theory and practice. Genève: Le Collège de l’Institut
Jaques-Dalcroze, pp 31-33.

List A – Music/Movement
• Pulse and Tempo
• Beat and Measure
• Meter (among which changing meter, unequal beat, metrical transformation, polymetry, beat
grouping (e.g. equal subdivisions of 12 quavers).
• Duration
• Rhythm pattern
• Rhythmic phrase
• Polyrhythm (including cross-rhythms such as 2 against 3; 3 against 4; 3 against 5, etc.)
• Additive rhythm
• Complementary rhythm
• Timing
• Anacrusis/crusis/metacrusis
• Phrase and phrasing
• Nuances (dynamic, agogic, tactile, texture, density, pitch, articulation)
• Repetition and contrast
• Silence, space, repose; pauses.
• Accents, change, emphasis (metric, agogic, pathetic, harmonic, melodic (pitch)
• Cross-rhythm and syncopation
• Melody, polyphony, harmony
• Canons
• Augmentation, diminution (e.g. twice and three times as fast or as slow)
• Divisions of time and space
• Form, period, shape, musical structures
• Use of space Time-space-energy
List B – Ways and Methods of learning or teaching
• Aural, visual and tactile response and their realisation in movement
• Incitation (or excitation), inhibition
• Coordination; association/dissociation
• Internalisation
• Automatisation and repetition
• Systematisation and memorisation

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• Solo, pair and group work (following, leading or ensemble participation)

• Imitation, improvisation, movement composition and conducting

List C – Faculties, Abilities and Qualities practised and developed

• Attention and concentration
• Motricity (laterality, body mapping, locomotion)
• Physical co-ordination, balance, core control
• Body awareness, independence of gesture
• Memory, internalisation (motor images)
• Harmony of body movement “on the spot” and travelling
• Sense of orientation, direction and spatial awareness
• Control of energy in relation to time and space
• Quick, appropriate response
• Mobility of mind, decision-making
• Precision and flexibility in mental representation
• Expression, imagination, creativity
• Group awareness, sociability and mutual respect

Lists a, b and c relate to one another in that they work together: an exercise in association/dissociation
may involve pulse, emphasis, rhythm pattern, dynamics, changes of weight or direction etc. An exercise
in pulse may include working with internalisation, reaction and so on. In addition, a teacher may use
exercises in crossrhythm to perfect the stability of the sense of pulse. Certain exercises are typical of the
Dalcroze approach, for example the quick reaction (“Hipp/Hopp”) exercises that work by stimulating and
regulating the neuro-muscular response with the purpose of rendering it more precise and ap- propriate,
and shortening or optimising the speed of response. They help in the acquisition of physical or self-
control and – in combination with exercises for the development of automatisms – in building an inner
store of movement and music related images (interrelated motor images and sound images) on which
the owner can draw to develop and perfect his performance and skill.

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