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2007 2007 Eurhythmics essence L’essence de la Rythmique « Je dis que cela appar

2007 2007 Eurhythmics essence L’essence de la Rythmique « Je dis que cela appartient à l’essence d’une chose qu’il suffit qui soit donné, pour que la chose soit posée nécessairement, et qu’il suffit qui soit ôté, pour que la chose soit ôtée nécessairement ; ou encore ce sans quoi la chose ne peut être ni être conçue, et quivice versa ne peut sans la chose ni être ni être conçu. » (Baruch de Spinoza, Éthique, GF Flammarion) Le Rythme est édité par la Fédération Internationale des Enseignants de Rythmique. Siège social : 44, Terrassière, CH-1207 Genève. Site Internet : www.fier.com. E-mail : info@fier.com. Les membres du Comité de la FIER sont Silvia Del Bianco (présidente, delbianco@swissonline.ch), Reinhard Ring (vice-président, rring@t-online.de), Madeleine Duret (secrétaire, madeleine.duret@bluewin.ch), Ghislaine Grüenenwald (trèsorière, ghislaine.grunenwald@gmail.com), Michèle de Bouyalsky (mdebouyalsky@hotmail.com) et Neus Fernandez (neusenric@hotmail.com). Directrice de la publication : Michèle de Bouyalsky Ont participé à ce numéro : Robert M. Abramson, Ruth Alperson, Fabian Bautz, Mary Brice, Angelika Hauser et Ann-Krestin Vernersson. Mise en page : Pierre Luypaert Photographie de la couverture : Gabriele Gorgias 2007 2007 « Le rythme, expression de l’ordre et de la symétrie, pénètre par le corps jusqu’à l’âme, anime l’homme tout entier et lui révèle l’harmonie de toute sa personnalité » (Platon) introduction par/by Silvia Del Bianco Très souvent, nous avons tendance à définir la rythmique par rapport à son apport à une autre discipline, qu’il s’agisse de la musique, de la danse, de la thérapie ou du théâtre. Mais quelle est son essence ? Qu’est ce qui fait de la rythmique, la rythmique ? L'étroite relation entre la musique et le mouvement ? La conscience de l’espace corporel et sonore ? L’utilisation particulière de l’improvisation ? La réalisation de tout ce processus d’apprentissage en groupe ? Y a-t-il une philosophie de la rythmique ? Y a-t-il une philosophie dalcrozienne ? Nous avons demandé à certains spécialistes en la matière de se prononcer sur ce sujet. Voici le résultat, que nous partageons avec vous, lecteur, lectrice, en vous souhaitant beaucoup de plaisir dans la découverte de ces propos. We often define eurhythmics by its contributions to other disciplines, for example, music, dance, theater or therapy. But what is its essence? What makes eurhythmics, eurhythmics? The strong link between music and movement? The consciousness of both tangible and audible space? The particular use of improvisation? Is it the dynamics engendered by learning in a group? Is there a philosophy of eurhythmics? A Dalcroze philosophy? We asked some experts on the matter to give voice to their feelings on this subject. Here is the result, which we share with you, dear readers, wishing you a lot of pleasure discovering these words. Translated by Pierre Luypaert (thanks to Mary Brice) sommaire/contents Robert M. Abramson How Émile Jaques-Dalcroze changed his methods p. 4 Ruth Alperson The essence of eurhythmics p. 6 Fabian Bautz In search of the essentials p. 14 Mary Brice Unfolding human potential through Dalcroze eurhythmics p. 22 Ann-Krestin Vernersson The gist of eurhythmics p. 36 Angelika Hauser The essence of rhythmics p. 42 LE RYTHME 2007 4 How Émile Jaques-Dalcroze changed his methods The changes for better, worse, or just different A ny plan or method is either the same or different from the original plan as the person trying to learn, follow or teach the plan. Time changes many things for better or worse and Jaques Dalcroze’s origi- nal interests in composition, conducting and cabaret perfor- mances of his songs and his piano improvisations, acting and theater allowed his teaching techniques to develop in as many directions. In the beginning, his method involved spe- cial techniques for teaching theory (tonality, harmony, mel- ody and melodic improvisation) and musicality. Very few people know or understand this part of his work nor are they interested. It would devastate theory departments if used to- day. The Conservatory in Geneva and the Institute in Ge- neva have both banished and buried this material. (For more information on this problem see Volumes I, II, and III of “Scales, Tonality, Nuance, Accent and Phrasing” published by Sandoz, Jobin and Co., 1907, Paris, Neufchatel, Leipzig.) Next came the second part of his three-part method. Rhythmics came about because of his interest in Rhythm and Musicality when he taught at the conservatory. He tried to get students to feel musical rhythms through movement so that their performance would become something a little more interesting than correct timing. This is still a prob- lem for many music students today, including my gradu- ate performance students at one of the greatest music schools in the world. One of the reasons for its greatness is the school’s search throughout he world for gifted students who re- ceive scholarships. However, as in Émile Jaques- Dalcroze’s time, the school mostly teaches advanced physical techniques of instrumental performance with little or no attention to musicality. This year I began my Eurhythmics course called Rhythm and Performance by asking my students to be a jury for my performance of a Mozart sonata. I played it perfectly in the technical sense with little attention to the many dimensions of Rhythm. When I finished my per- formance, I stood up a bowed to the class. They were si- lent and looked unhappy. I asked them : “Why?” They could not find an answer. I reminded them that my tem- po, timing and all notes and fingering and pedaling was correct. After a short pause, I asked : “Would you like me to be more musical?” They all laughed, as I knew they would, because that is what their teachers say to them by Robert M. Abramson Robert M. Abramson is a professor of Music at the Juilliard School of the Arts, New York City. He is also the director of the Juilliard Dalcroze Summer Institute and the director of the Dalcroze Institute, New York City. 5 How Émile Jaques-Dalcroze changed his methods without any hint of what the word Musicality means. I played the Mozart again very musically (varied dynamics, phrasings and articulations). They applauded and we began to work on Émile Jaques-Dalcroze's original plan for rhythm and musi- cality, which involved both experiences and thought on the experiences. This plan is now often changed and is only used to teach correct timing of note values and note combinations. When Jaques-Dalcroze left Geneva to move to Hellerau, Germany, just before the First World War he was given a the- ater and a theatrical partner, Adolph Appia. This changed the use of movement for musical training to interest in Dance and Theatrical Movement and contributed to the beginning of Ger- man Modern Art Dancing sometimes with percussion music improvised by the dancers to fit movement that had little to do with musical rhythms. A final use of some of the many methods led to therapeu- tic work for blind, deaf and mentally challenged students. I have left out any discussion of the methods joined to therapeu- tic help and it’s almost completely unknown to professional therapists today, though some of my students are very suc- cessful with the new problem of Autism. All of these changes finally led to mostly female teachers and few male students who love to dance and finally to teach- ers who were not so much musical as comfortable with work- ing with children on movement. Their musical improvisation, which was at the heart of Jaques-Dalcroze teaching methods, began a long decline. As with most dance people those new teachers were unable to discuss and explain any part of the ideas behind the methods from the beginning to the end of his personal interests and beliefs. Unfortunately, for aspiring music students at the adult level, as well as male students, these new ideas on methods have locked them out from the help Jaques-Dalcroze could provide. As a final problem, Jaques-Dalcroze’s son who was a law- yer helped to try to control the method by making the Institute in Geneva the only school allowed to offer the Diploma which En quelques mots Émile Jaques-Dalcroze, dans la première partie de sa carrière, en raison des ses intérêts pour la composition, la direction, le théâtre, la chanson et l’improvisation, développa des techniques pour enseigner et la théorie musicale (tonalités, harmonie, mélodie, improvisation mélodique) et la musicalité. Puis, vint la rythmique : faire sentir les rythmes musicaux au moyen du mouvement corporel. À l’époque de Jaques-Dalcroze, les écoles formaient aux techniques instrumentales, avec peu d’attention portée à la musicalité. Cela se retrouve également de nos jours. Lorsque Jaques-Dalcroze se rendit à Hellerau, l’utilisation du mouvement se concentra sur la danse et le mouvement théâtral, avec la collaboration d’Adolphe Appia. L’aspect du mouvement l’emporta finalement sur l’aspect musical, avec pour conséquence que ce métier devint très féminin, et l’improvisation perdit de son importance. L’Institut de Genève étant la seule école à pouvoir décerner des diplômes supérieurs, il représente un frein à la propagation des méthodes de Jaques- Dalcroze dans le monde. Madeleine Duret would be of interest to very accomplished mu- sicians uploads/s3/ le-rythme-2007.pdf