The Applied Research of Dalcroze Eurhythmics in Junior High School Music Class
DOI:
https://doi.org/10.61173/9w092a05Keywords:
Dalcroze eurhythmics, junior high school music education, music perceptionAbstract
The Dalcroze eurhythmics, which incorporates physical movement, has had a profound impact on music teaching systems in many countries. It emphasizes the close connection between music and the body, enhancing students’ perception of and interest in music. While existing research on Dalcroze’s theoretical system is relatively comprehensive, more exploration is needed regarding its practical application in secondary school classrooms. This paper examines the core principles of Dalcroze eurhythmics, analyzes current issues in music teaching in China, and demonstrates the integration of spatial and temporal elements in classroom instruction through specific teaching examples. The author argues that the Dalcroze method is particularly well-suited for junior high school music education in China, offering new insights into diversified teaching methods.References
[1] Wei, Ruilin, Yongmei Shen. A study of Dalcroze’s path of practice in secondary school music under core literacy [J]. musical instruments, 2024, (07): 70-73.
[2] Juntunen, M. L., Hyvönen L. Embodiment in musical knowing: how body movement facilitates learning within Dalcroze Eurhythmics[J]. British Journal of Music Education, 2004, 21(2): 199-214.
[3] Juntunen, M. L. Ways to enhance embodied learning in Dalcroze-inspired music education[J]. International Journal of Music in Early Childhood, 2020, 15(1): 39-59.
[4] Yang, Limei, Jueming Cai, editors, Dalcroze Music Education Theory and Practice New edition [M]. Shanghai: Shanghai Education Press, 2011.
[5] Yuan Xiuming. An analysis of the role of Dalcroze’s somatic rhythmic pedagogy in music and dance studies. [J]. Theatre House, 2021, (30): 123-124.
[6] Li, Linping. Analysing the «movement» of the Dalcroze method of teaching somatic rhythm. [J]. Theatre House, 2024, (06): 181-183.
[7] Daly, D. K. Creativity, autonomy and Dalcroze Eurhythmics: An arts practice exploration [J]. International Journal of Music Education, 2022, 40(1): 105-117.
[8] Fillips, A. M. Fusing Kodály, Orff, and Dalcroze techniques for general elementary music classrooms [J]. 2005.
[9] Vracheva, V. P. Moussetis R, Abu-Rahma A. The mediational role of engagement in the relationship between curiosity and student development: A preliminary study [J]. Journal of Happiness Studies, 2020, 21: 1529-1547.
[10] Wu, Xiaoyan. An Introduction to Teaching Management in Middle School Music Classrooms [J]. New curriculum (below), 2012, (05): 67-68.
[11] Mo, Li. A revolution in music teaching and learning: The movement of the Dalcroze method of teaching physical movement [J]. Chinese music, 2019, (05): 126-131+185. DOI:10.13812/j.cnki.cn11-1379/j.2019.05.014.
[12] Engel, S. Children’s need to know: Curiosity in schools [J]. Harvard educational review, 2011, 81(4): 625-645.
[13] Woller M.»You Can Sing Most Anything»: The American Folk Revival in The Sound of Music (1965) [J]. 2014.
[14] Seitz, J. A. Dalcroze, the body, movement and musicality [J]. Psychology of music, 2005, 33(4): 419-435.
[15] Van Der Merwe, L. The first experiences of music students with Dalcroze-inspired activities: A phenomenological study [J]. Psychology of Music, 2015, 43(3): 390-406.
Downloads
Published
Issue
Section
License
Copyright (c) 2024 by the authors.
This work is licensed under a Creative Commons Attribution 4.0 International License.
