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Moved to Learn: Dalcroze Applications to Choral Pedagogy and Practice

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Moved to Learn: Dalcroze Applications to Choral Pedagogy and Practice Moved to Learn: Dalcroze Applications to Choral Pedagogy and Practice by Caron Daley A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Caron Daley 2013 Moved to Learn: Dalcroze Applications to Choral Pedagogy and Practice Caron Daley Doctor of Musical Arts Faculty of Music University of Toronto 2013 Abstract Over a century ago, Émile Jaques-Dalcroze (1865-1950) began experimenting with a pedagogical approach that would give students access to their personal musical voice and a system of technique to express that voice with ease and sensitivity. Music education had lost sight of certain key qualities of exceptional musicianship; qualities such as flow, nuance, imagination, and individuality, so valued in expressive performance, were absent in music pedagogy. According to Jaques-Dalcroze, the antidote to musical arrhythmy (a lack of musical ease and expressivity) lay in the integrated use of the whole body in both musical perception and performance, a coordination he termed eurhythmy. The purpose of this study is to investigate the applications of Dalcroze Eurhythmics to the choral context, including the ways in which the Dalcroze approach shapes the philosophical, pedagogical and musical outcomes of choral pedagogy and practice. More specifically, how do these two areas interact in relationship to the following topics: (1) conductor, chorister and choir as instrument, (2) conductor and chorister score study, (3) conductor and chorister gesture, and (4) choral pedagogy and rehearsal techniques? The original writings of Émile Jaques-Dalcroze provide a framework for the discussion, while interviews with two groups, Dalcroze master-teachers with choral conducting training and/or experience, and Dalcroze-trained choral conductors illustrate the specific ii applications of the choral context. Study participants reported the use of the Dalcroze approach for three main purposes in the choral context: (a) to develop choral skills, including vocal skills, aural skills, kinesthetic skills, ensemble skills and music literacy skills; (b) to prepare the whole body for accurate and expressive performance of choral repertoire (conducting and singing); and (c) to develop non-musical outcomes that support choral conducting and singing, including mental acuity, creativity, a contextualized view of self and others, self-confidence and risk- taking, and enjoyment in music making. iii Acknowledgments This dissertation would not have been possible without the incalculable efforts of Dr. Hilary Apfelstadt. Her constant encouragement buoyed me up through the entire dissertation process, and since 2001, her mentorship and guidance have steered me on a straight path. Thank you for your deep commitment to educational and professional ethics. You have inspired me to be a choral leader, to work longer and later hours, and to be the best conductor I can be. I would also like to thank Dr. Lori-Ann Dolloff for her generous spirit and her creative and inspired teaching. Thank you for introducing me to narrative research, without which, this project would not have been possible. And a special thank you to Dr. Gillian MacKay, whose kind and frank leadership helped me dodge bullets and make my way into the working world of academia. A special thank you to my parents for always asking me, “How is the dissertation?” To my Dad, for continually challenging me to finish the degree. And to my Mom, for showing incredible interest in my research material. Thank you for housing me, feeding me, teaching me lots of big words, and for never flagging in your support, including the incredible proofreading job. Thank you to Wanda and to Katheryn, for being there from the beginning, and for helping me work out my research questions in real time and in real life. I am extremely grateful in this last year to my colleagues at Trinity Western University. Thank you for being so welcoming and accommodating, and for showing honest caring about my personal and professional formation. iv Table of Contents Acknowledgments .......................................................................................................................... iv Table of Contents ............................................................................................................................ v List of Appendices ....................................................................................................................... viii 1 Introduction ................................................................................................................................ 1 1.1 Purpose of the study ............................................................................................................ 4 1.2 Methodology ....................................................................................................................... 5 1.3 Organization of the Study ................................................................................................... 9 1.4 Significance of the Study .................................................................................................. 10 1.5 Definition of Terms ........................................................................................................... 11 2 Review of Literature ................................................................................................................ 13 2.1 Use of the Dalcroze Approach (and Related Body-based Approaches) as an Instructional Technique in the Choral Context ................................................................. 14 2.1.1 Research studies .................................................................................................... 14 2.1.2 Other sources ........................................................................................................ 17 2.2 Use of the Dalcroze Approach (and Related Body-based Approaches) in Musical Analysis ............................................................................................................................. 24 2.2.1 Research studies .................................................................................................... 24 2.2.2 Other sources ........................................................................................................ 25 2.3 Use of the Dalcroze Approach in Conductor Training ..................................................... 27 2.3.1 Research studies .................................................................................................... 27 2.3.2 Other sources ........................................................................................................ 29 2.4 Use of the Dalcroze Approach in Vocal Training ............................................................ 31 2.5 Summary ........................................................................................................................... 32 3 Body as Instrument: Arrhythmy to Eurhythmy ....................................................................... 34 3.1 A Whole-Body Orientation for the Choral Context .......................................................... 35 3.2 Rhythm: Arrhythm and Eurhythm .................................................................................... 42 v 3.3 A Choral Body .................................................................................................................. 48 3.4 Summary ........................................................................................................................... 53 4 Perception to Performance: Dalcroze-based Score Study and Gesture in the Choral Context ..................................................................................................................................... 55 4.1 Building a Body-based Vocabulary for Choral Performance ........................................... 56 4.1.1 Rhythmics ............................................................................................................. 62 4.1.2 Plastique ................................................................................................................ 64 4.2 Sound and Gesture ............................................................................................................ 66 4.3 A Dalcroze Approach to Score study and Conducting Gesture ........................................ 71 4.4 Summary ........................................................................................................................... 78 5 Dalcrozian Pedagogy in the Choral Context: Implications for Rehearsal and Relationship ... 80 5.1 Dalcroze Pedagogical Sequencing .................................................................................... 81 5.1.1 Experience: Developing Musical Consciousness ................................................. 83 5.1.2 Analysis: Cognition and Notation ......................................................................... 88 5.1.3 Improvisation/Composition/Performance ............................................................. 91 5.2 Dalcroze Eurhythmics, Solfège and Improvisation in the Choral Context ....................... 92 5.3 Dalcroze-based Rehearsal Techniques ............................................................................. 97 5.4 Issues of Integration ........................................................................................................ 102 5.5 Revisiting the Conductor Role .......................................................................................
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