condition of joy is brought about in us by the feeling of freedom and responsibility, by the clear perception of the creative power in us, by the balance of our natural powers, by the harmonious rhythm between intention and deed. It depends upon our creative faculties, both natural and acquired, and becomes greater as these grow. The power of understanding ourselves certainly gives us a sense of freedom, for it opens a rapid correspondence, not only between imagination and power of performance, between apperception and feelings, but also between the various kinds of feelings which dwell in us.

The College.

THE JAQUES-DALCROZE METHOD

I. GROWTH[1]

[1] For much of the material of this chapter the writer is indebted to Herr Karl Storck, of Berlin, to whose book E. Jaques-Dalcroze, seine Stellung und Aufgabe in unserer Zeit, Stuttgart, 1912, Greiner & Pfeiffer, the reader is directed.

Emile Jaques-Dalcroze was born in Vienna on July 6, 1865, of mixed parentage, his father being a Swiss from St. Croix in the Jura (hence the artist name Dalcroze), his mother of German extraction. At the age of eight his parents brought him to Geneva, where in due course he became a student at the Conservatoire of Music. His musical education was continued in Paris under Léo Delibes and in Vienna under Bruckner and Fuchs. 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 music, which he found unusually interesting and stimulating.

Returning to Geneva, he earned, by a life of varied activities as teacher, writer and composer, a standing which in 1892 brought him the appointment of Professor of Harmony at the Geneva Conservatoire.

The wider experience which the new sphere of work brought was to a certain extent a disappointment, for with it came clear evidence of what had before only been suspected, namely, that the education of future professional musicians was in many ways radically wrong, in that the training of individual faculties was made the chief object, without consideration of whether or no these faculties stood in any close relation to the inner consciousness of the student. In other words, the aim of the training was to form means of expression, without consideration of what was to be expressed, to produce a highly trained instrument, without thought of the art whose servant it was to be, to take as primary object a thing of secondary importance, indeed only of importance at all when consequent on something which the usual training entirely neglected. The students were taught to play instruments, to sing songs, but without any thought of such work becoming a means of self expression and so it was found that pupils, technically far advanced, after many years of study were unable to deal with the simplest problems in rhythm and that their sense for pitch, relative or absolute, was most defective; that, while able to read accurately or to play pieces memorized, they, had not the slightest power of giving musical expression to their simplest thoughts or feelings, in fact were like people who possess the vocabulary of a language and are able to read what others have written, yet are unable to put their own simple thoughts and impressions into words. The analogy here is the simplest use of everyday language; from this to the art of the essayist or poet is far; so in music—one who has mastered notes, chords and rhythms can give musical expression to simple thoughts and feelings, while to become a composer he must traverse a road that only natural talent can render easy.

Jaques-Dalcroze took the view that technique should be nothing but a means to art, that the aim of musical education should be, not the production of pianists, violinists, singers, but of musically developed human beings, and that therefore the student should not begin by specializing on any instrument, but by developing his musical faculties, thus producing a basis for specialized study. This training could only be obtained by awakening the sense, natural though often latent, for the ultimate bases of music, namely, tone and rhythm. As the sense for tone could only be developed through the ear, he now gave special attention to vocal work, and noticed that when the students themselves beat time to their singing, the work became much more real, that the pupils had a feeling of being physically in unison with the music, indeed the feeling of producing something complete and beautiful. Following up this hint, "Gesture Songs" were written, which, it was found, were performed with surprising ease.

Up to this point movement had only been used as an accompaniment to music, not as a means of expressing it; 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 music. This co-ordination of movement and music is the essence of the Jaques-Dalcroze method, and differentiates it from all other methods of similar aim.

So far only arm movements had been employed, and those merely the conventional ones of the conductor. The next step was to devise a series of arm movements, providing a means of clearly marking all tempi from two beats in the bar to twelve beats in the bar, including such forms as 5/4 7/4 9/4 11/4, 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 note. From the first the work aroused keen interest among the students and their parents, and the master was given enthusiastic help by them in all his experiments; above all he was loyally aided by his assistant, Fräulein Nina Gorter. The Conservatoire authorities, however, were not sympathetic, and it became necessary to form a volunteer-experimental class, which worked outside official hours and buildings.

The first public recognition of the method was at the Music Festival in Solothurn in 1905, where a demonstration was given which made a striking impression on those present. 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 education. It has been made clear that the method had its origin in the attempt to give life and reality to musical education, to give a foundational development on which specialized music study could be based, and that it had grown naturally and gradually as the result of observation and experiment. Now it began to be apparent that something still greater than the original aim had been achieved, that the system evolved was one which, properly used, might be of enormous value in the education of children. With characteristic energy Jaques-Dalcroze, inspired by the new idea, took up the study of psychology, in which he was helped by his friend, the psychologist Claparède, who early saw the value which