Dalcroze's Eurhythmic Techniques

for the Choral Rehearsal

\ I

To

o Magnum Mysterium
By Angela Crosby
Imagine his Scenario:
You are peeking into a typical choir
room, watching several choral students
stare into space during choral warm-ups.
Eyes glassing over, the students are more
worried about the lunch menu than ex-
panding their vocal range and facility. Sing-
ers are participating technically, but not
actively, as they sing the same five warm-
ups practiced everyday for an entire se-
mester. During the rest of the rehearsal,
the students' movements consist of sitting
still or standing still and, in some cases,
slouching still. Some choir directors have
looked into their glassy-eyed, disengaged
students and desperately wondered how
things got to this point!
Sedentary choral habits are difficult for
teachers and students to break. Singers
are constantly expected to demonstrate
motion, expression, and energy in their
vocal production, but often, these stu-
dents are not provided with tools that
facilitate understanding of rhythmic move-
ment. One music educator who sought to
rectify this was Emile Jacques-Dalcroze. into the musical learning paradigm. He
Dalcroze developed teaching strategies championed natural gestures and whole-
that incorporated kinesthetic movement body movement to connect students'
daily experiences with their musical learning.
Dalcroze's kinesthetic teaching model can
Angela Crosby is a first-year graduate student at Mercer
be applied to the choral rehearsal effectively,
University. She holds a BME from Meredith College.
and is currently pursuing her masters degree in choral using natural movement techniques to vital-
conducting with an emphasis in church music. Crosby ize students' rhythmic internalization, breath
is the graduate assistant for the Mercer Singers. led by
Stanley Roberts. <AnLCrosby@yahoo.com> energy, and phrasing.

Choral Journal May 2008 31

 Mouing 10 0 Magnum Mysterium cant.

Dalcroze and His solfege at the Consel-vatory of Music the natural loco motor rhythms of the
Eurhythmics Method in Geneva. Dalcroze quickly obsel-ved body."6 Dalcroze believed rhythm should
Emile Jacques-Dalcroze was born incompetence in students' learning. Stu- be continually explored with the body to
in 1865 to Swiss parents in Vienna. He dents were being taught the technical facilitate focus, expression, and musical
experienced a varied music education aspects of music education, but not the understanding. Only then would pupils
throughout his life, gathering cultural and relationship between their learning and naturally grasp the depth of what they
educational influences from a smorgas- bodily experience. Dalcroze found that were learning. Dalcroze avows,
bord of teachers. He studied with teach- "Students at the conservatory could
ers of Swiss, Belgian, French, Viennese, not hear the harmonies they were Before adapting his nature to
the movement and sound of an
and Arabic culture. Cornerstones of writing in their theory classes, were un-
instrument, the pupil should be
Dalcroze's Eurhythmic approach can be able to write a simple melody or chord capable of experiencing his own
attributed to many of these experiences. sequence, and that they had serious body ... special exercises will first
For instance,Dalcroze was accompanist problems in their perfol-mances because develop his sense of muscular
to Belgian violinist Eugene Ysaye. During of a poorly developed rhythmic sense."2 rhythm and his nervous sensibility.
Ysaye's touring time, "Dalcroze is said to Upon this realization, Dalcroze began then they will render his ear
have been very impressed with Ysaye's to create "quick I-eaction exercises"3 attentive ... so that his limbs may
use of inner hearing and kinesthetic and games to engage his students using faithfully reproduce the rhythms
movement as he mentally practiced." I natural gestures.With this new approach, perceived by the ear?
The concepts of inner hearing and Dalcroze challenged his students to
kinesthetic movement serve as deep move beyond their "mechanical grasp" The Dalcroze approach "contributes
foundational principles of the Eurhyth- and move towards a "musical grasp."4 to self-understanding by helping a per-
mics approach. The method Dalcroze developed son to become aware of and to develop
A few years after graduating from is called Eurhythmics, meaning "good the expressive possibilities of his body."B
the Vienna Conservatory, Dalcroze flow."s Eurhythmics is based on the idea In the Eurhythmics classroom, students
became a professor of harmony and that, "The source of musical rhythm is learn how to use their bodies as readily
as their voices. 9 Concerning this kines-
thetic approach, Dalcroze "postulated
that whenever the body moves, the
sensations of movement are converted
into feelings that are sent through the
nervous system to the brain which, in
turn, converts that sensory information
into knowledge.'>lD Sensory knowledge
helps develop the "inner ear; an inner
muscular sense, and creative expression,"
all of which lie atthe core of Eurhythmics
musicianship. I I
Eurhythmics consists of three differ-
ent learning tools: rhythmics, solfege, and
improvisation. Dalcroze determined that
these tools should be integrated into
every lesson. Common rhythmics games
include students walking, running, and
skipping to a musical accompaniment.
A typical lesson features the teacher
improvising at the piano while the stu-
Call for information Emllil for information dents move freely to the music, often in
80083;;~0402, Ext. 2 Info@BESTCOllcertTours.com are both welcome! bare feet!12 "Dalcroze developed quick
reaction exercises in which the students

32 Choral Journal May 2008

had to make a musical response to his
cue without interrupting the flow of the
music:'13 Students are often encouraged
to show differing rhythmic durations in
their hands and feet. Such an exercise
might include students walking half notes
with their feet and clapping eighth notes
with their hands. Using verbal or musical
cues (example: German word "hopp"), the
teacher challenges the student to swap
durations in their body parts, encourag-
ing quick responses. 14 Another rhythmics
game includes students walking in a circle
to an improvised accompaniment, instantly
stopping and starting when they hear two
eighth notes played. ls This "immediate
realization by the body of musical rhythm"
helps students embody the music, express-
ing the musical rhythms before the brain
has even fully grasped them. 16
Eurhythmic learning can be further
explored through solfege and improvisa-
tion exercises. Eurhythmic solfege can
be defined as "special exercises for the
development of perfect pitch, accurate
hearing, and refined intonations '" com-
bined with exercises in mental and musical
alertness, concentration and memory." 17
An example of a beginning solfege lesson
involves students speaking or singing notes
on a "one-line staff." 18 The notes would be
Choral Journal May 2008
read first with equal duration, and then the
teacher could solicit different rhythms by
pointing to the notes at different speeds. 19
A more challenging exercise would include
sight-reading numerous measures, with
the teacher gradually erasing measure by
measure, encouraging the class to speak
or sing by memory.
For improvisation exercises, the teacher
presents "foreground and background
information" that challenges students to
"perceive, feel, and absorb the entire in-
teraction going on in the music."2oThe im-
provised accompaniment with its "effective
surprise encourages both attention and
creative action by promoting activity in a
challenging and constantly changing musical
environment."21 Students are encouraged
to express, with kinesthetic movement,
the changes that occur in the musical ac-
companiment. The variety of movement
experienced "evokes sensations which
create mental images."22 Students develop
a "storehouse of aural and kinesthetic im-
ages," and these musical ideas become a
"repertoire for expressive performance
and a means towards a more sensitive
perception.' ,23 Improvisational exercises
promote engagement and individualism
of expression of musical ideas. 1-800-922-3976
IOnld-[)rolects .com
33
 Mouing 10 0 Magnum Mysterium cant.

Eurhythmics and to expl-ess motion between the beats specifically to Tomas Luis da Victol-ia's 0
the Choral Realm is I-eliant on singers' minds and voices. If Magnum Mysterium. 25 An SATB version
Dancers, pianists, pel"Cussionists, and choral singers are not guided toward ex- of this sacred Renaissance motet edited
violinists share a distinct commonal- pel"iencing music EUI-hythmically, how can by Brian Marble will serve as a template,
ity. Their reheal-sals and peliormances teachers expect singers to fully undel-stand detailing kinesthetic exercises that enhance
all include largely visible acts of external music's motion?Teachers must encourage choral singers' rhythmic internalization,
movement. Daily, these performers use movement in the reheal-sal! Kinesthetic bl-eath energy, and phrasing.
their artistic bodily gestures to expres- movement of the external creates a posi-
sively experience and demonstrate theit- tive connection to the internal. If a choil-'s
art form. Unfortunately, for choral singers, rehearsal experience includes consistent Rhythmic Internalization
this movement concept is hal-del' to grasp. connections to physical responses, singers Eurhythmics expert Elsa Findlay ob-
Although movement does OCCUI- in the can bettel- pl-actice and internalize musical serves,'The crux of every rhythmic expe-
24
singing process (specifically in breathing concepts. l"ience should be listening; without listening,
and vocal fold vibration), choral singers, Common vocal issues from which no rhythmic growth can take place."26
in general, do not engage in large body singers suffer can be improved by con- Listening is an excellent starting point
movements during rehearsals and pel-- necting their natural gestures to choral when approaching a piece in Eurhythmics
formances-unless in a gospel or show learning. To demonstrate this concept, fashion. 0 Magnum Mysterium can be intro-
choir. In a choral performance, the ability the Eurhythmics approach can be applied duced to choral students by allowing them
to listen and move freely to a recording.
Students should be encouraged to listen
carefully, showing with their whole bodies
the strong or subtle I-hythmic changes they
hear in the compositionP EUI-hythmics
educator Robert Abramson reminds musi-
cians that EUI-hythmic motion is not about
"pl-etty movement," but instead about be-
ing aware of the true kinesthetic motion
of the piece?8 Teachers should "not allow
the student to hallucinate changes when
they do not occur in the recol-ding."29 This
behavior promotes expressing the evident
motion that exists in the piece.After expe-
riencing the listening exercise, students can
discuss how they used their movements
to reflect what they heard. For example,
many students may utilize wide, smooth
motions for the majority of the piece, tak-
Home stays with local singers and families available
ing physical note of brisk metel- changes at
for non-US children's choirs. Round out your California experience m. 53 and tempo relaxation again at m. 67.
with an available extension tour or
sightseeing package.
Beyond those basic observations, there is
Applications due by September 30, 2008
a vast palate of movements that students
Late applications accepted through December 31, 2008 will explore and discuss.
Robert Geary Piedmont Choirs' Festival Presenter & Host Ensemble Bob Chilcott
Subdividing macro and micro beats
Artistic Director www.piedmontchoirs.org/ggf.lasso Festival Conductor via physical movement is essential to the
Eurhythmics technique. Choral singers can
further internalize 0 Magnum Mysterium
by physically subdividing the pulse. To
implement this concept, the class can be
divided into groups repl-esenting various
subdivisions of the primary beat. 3o While

34 Choml Journal May 2008

singing the sections in 4/2 mete,~ students
can be actively engaged as one group
walks whole note durations around the
room, another group walks half notes, and
another group runs quarter" notes. As a
next step (lite,"ally), students can be chal"
lenged to keep one pulse with their feet
and another with their arms. 3 ' Students
switch their note values at the teacher's
cue, with each group swapping its duration
of subdivision with another group's.To as-
sist with the approach of the 3/2 section
in m. 53, the choir" can show quarter notes
in their hands and a long-short long-short
pattern in their feet.
J j IJ j
Encouraging students to show vadous
subdivisions on cue will inhe,"ently stabi-
lize students' inner" pulse and the piece's that teachers can use simultaneously with
steady pulse. the subdivision task. A silent audiation
It is essential to understand that Dal- game helps singers practice Dalcroze's
croze encouraged his students to internal- concept of inner hea,-ing and inne,- pulse.
ize the motion that exists on the beats and To implement, students begin singing a
between the beats. Beats two, th,-ee, and portion of the piece. When the leader
four" of a whole note (not just beat one) claps, the piece continues in silence. 32 At
should continuously carry motion forward, the next clap, the singers resume singing
and this motion is ,"eflected in the body's their pitches. The silences can be as long
movement. Teachers should encourage or short as the leader desires, but students
their students to keep thei,- body move- must stay engaged. 33 The predominantly
ments consistent, using appropdate time homophonic sections of 0 Magnum Mys-
and space, especially on long durations. terium would certainly benefit from this
For example, if singers a,"e expressing audiation exercise. Fo," instance, singers can
whole note subdivisions with their- feet, begin from the pickup of m. 17 (Figure I)
long strides showing fluid movement from through m. 28.The leader can clap at m. 22
one duration to the next are essential.This to communicate silent audiation.The piece
can be an aerobic and challenging task fo,- should continue to maintain its tonal and
any choir~ rhythmic integrity. The leader claps again
Practicing vocal silence is an exercise at m. 25 signaling the choir to resume

17
II
s
tJ I

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et ad - rni - ra - hi -Ie sa - -----------
era men - - tum, ut a - ni - rna - Iii - a vi -

A
H
tJ
et ad-rni-ra - hi - Ie sa - era - men - turn, _ _ ut a - ni - rna - Ii - a vi -
II
T
I
'II et ad-rni-ra - hi - Ie sa - era men - tum, ut a - ni- rna - Iii - a, ut a - ni - rna - Iii - a vi -

et ad - rni - fa - hi - Ie sa - era men - tum, ut a - ni - rna - Ii - a vi -

23
II
s

-
de _ rent Do - rni - nurn 'dI, . .!.
tJ na - tum, VI- e - rent Do - rni-nurn na - - tum
1\
A
tJ " ' I I .~
de - rent Do - rni - nurn na - tum, vi - de - rent O0- rnl-nurn na - - tum Ja - cen -
II
T

'II de _ rent Do - rni - nurn na - - tum, vi-de - rent Do-rni-nurn na tum ja - cent -
~

de - rent Do - rni - nurn_ na - tum, ja - cen - tern in

Figure 1. Tomas Luis da Victoria, 0 Magnum Mysterium, mm. 17-28,

Choral Journal May 2008 35

 Mouiog 10 0 Magnum Mysterium cont.

s
49
1\

U Do
--- I
-
" "
- mi - num, Je
I I
sum Chri -
I
- sturn. Al-
II
A
U ~ ~ II" .. ; ~
Do - mi - num, Je ----- - sum,_ Chri sturn. Al-
h
T
~ Do - mi - num. Je - - sum, Chri sturn. Al-

Je - - sum Chri - - sturn.

Figure 2. Tomas Luis da Victoria, 0 Magnum Mysteriu11l, mm. 49-53.

singing.To achieve this exercise accurately,
Students must practice imagining their
pitches and maintaining the steady beat
during the silences. 34
Breath Energy
The Eurhythmics approach can be a
choral director's not-so-secret weapon
when tackling the challenge of continuous
breath energy in singing. Singer's breath-
ing and phonation processes involuntarily
embody movement, whether students
realize it or not. The breath is pulled in
Llbrall'J of CongNss/ACDA announce the launch of
-American Choral Music, 1870=1 '21:'
You can now download public-domain choral works at
<www.loc.gov/performingarts/>.
For more information see the March issue of the Choral Journal.
36
and then flows out, causing the vocal
folds to vibrate, creating sound waves that
resonate throughout the vocal mechanism
and surrounding air. Pull, flow, vibrate,
wave, and resonate are all verbs involving
movement.
Singers can use large body move-
ments to remind themselves of action
verbs involved in breathing for singing.
For example, students can demonstrate
a kinesthetic movement for inhalation to
remind themselves that beautiful tone
requires deep, low intakes of air. To apply
this concept, singers can practice holding
an "imaginary beach ball" in front of their
bodies. 35 Each time students experience
an intake of air, their imaginary ball should
inflate, and their arms should move apart.
This motion can be used on long or
quick intakes of breath.The long, imitative
entrances at the beginning of 0 Magnum
Mysterium would especially benefit from
this exercise. Singers tend to take shal-
lower breaths because these entrances
are soft; however, all volumes of vocal tone
require deep, low breaths. A kinesthetic
image such as inflating a beach ball will
engage the student in positive breathing
habits for singing.
Choral directors and singers have
often exclaimed, "Put some life into the
sound!" These directors and singers de-
sire for the vocal tone to be consistently
energized with breath, resulting in a more
supported and vibrant sound. Applying
physical movement to the energizing of
tones is very simple and instantly effective.
Long tones are particularly challenging to
keep energized, and 0 Magnum Mysterium
contains multiple sustained pitches. In mm.
49-53 (Figure 2), tenors and basses can
kinesthetically engage by "loosely vibrat-
ing hands to invite life into the sound." 36
Sopranos would also benefit from such
movement during their sustained pitch
from mm. 71-74. Intonation is a direct
reflection of breath support, and the vi-
Choral Journal May 2008
 S
67"

tV
ia, al - Ie -
,
lu
-----
-
-
"
A
tV
ia, al
~
Ie - lu
- u
--- ia,
~
al -
/- -.....
T "
~ I , ,
- .' -
---
ia, al Ie - lu al

-
la,

B ---- --
ia, al - Ie - lu -
71
s

T
- lu - - ----
ia.

- lu - - ia.

ia, al Ie - - lu - - ia.

Figure 3. Tomas Luis da Victoria, 0 Magnum Mysterium, mm. 67-74.

brating hands metaphor promotes positive 67-74 (Figure 3)possess numerous exam- Phrasing
breath action. Advocating such movement ples of this type of movement. Singers can Expression is essential in choral music.
connects the singers' vocal experiences to smoothly guide their hands upward and Physical movement helps singers explore
their physical experiences, and they will outward while rehearsing these descend- individual expression and the "pull of the
respond with a more energized sound and ing passages. This movement resembles a musical phrase:'38 "Qualities of rising and
better intonation. forward half of a rainbow. As each voice falling, greater and lesser intensity, and
Descending vocal passages are often enters, singers should perform this action towardness can be effectively learned by
very difficult for choirs to keep in tune. to remind themselves that duringphona- students who are responding physically to
This insufficient intonation is a result of tion, their breath is consistently moving up music."39 A variety of kinesthetic activities
incorrect manipulation of breath energy. and out.This arm movement exercise ex- can be included in rehearsal to assist in
Some singers habitually disengage their emplifies Dalcroze's belief that "the body is the phrasing and expression of Victoria's
breath as they go downward, letting the an inseparable ally of the mind:'37 Physical o Magnum Mysterium.
bottom fallout of their sound. Other movements assist the body in connecting Legato phrasing is prevalent throughout
singers push too aggressively, resulting in a with the mind, helping singers experience o Magnum Mysterium. Physical movements
pressed sound which sends the pitch flat. and internalize the action of their breath that encourage continuous, smooth mo-
Kinesthetic actions can aid singer's aware- in a new way. tion are beneficial to singers. Elsa Findlay
ness of consistent, relaxed breath energy suggests having students slowly manipulate
during downward vocal contour. Measures their own "imaginary elastic band."40 Sing-

Choral Journal May 2008 37

 louin, 10 0 Magnum Mysterium
AS~~~
~ ma - gnum_ my-sle - ri - um
0 _ __
Figure 4. Tomas Luis da Victoria, 0 Magnum Mysteriul11, mm. 1-7.
ers should begin smoothly pulling on theil'
band at the beginning of each phmse and
continue stretching it apart throughout the
phrase.The elastic band should recoil gen-
tly at the end of the phrase, signaling that
specific phrase's end.The students resume
pulling at their next I'espective entrance.
These legato movements will transfer
into their singing, reSUlting in an enhanced
understanding of connected phrasing.
38
cant.
:e:
ma
_
el ad - mi - ra - bi -Ie sa-era-men
gnum_ my - sle - ri - um
_
et ad - mi - ra
Many phl'ases in 0 Magnum Mysterium
entel' with imitative, polyphonic motives
sung sepamtely by each voice part. Stu-
dents must understand the impol'tance
of emphasizing theil'line when intmducing
the motive.The imitative motives begin at
m.1 (Figure 4), m. 19, m. 27, and m. 67. A
beneficial physical activity for practicing
imitative entrances is having students stand
when singing their imitative phl'ase and sit
-
- bi-Ie sa-
down when the phl'ase is completed.41
This exelTise allows students to actively
observe the seamless, polyphonic overlap-
ping. While standing, singers enjoy spot-
lighting their statements of each motive. By
sitting, singel's are I'eminded to ease into
the backgmund with their supporting ma-
terial as the other sections highlight their
motive. Standing and sitting helps singers
internalize the overall form and shaping of
these poignant, imitative sections.
A glorious choral moment occurs at
m. 37 (downbeat) of 0 Magnum Mysterium
(Figure 5). All voices simultaneously build
towards a beautifully unified climax on the
word "pl'aesepio." Obtaining this phrasal
explosion requires singers to understand
where the emotional height of the phrase
OCCUl'S. Using the Eurythmics approach,
singers can physically involve themselves by
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Choral Journal May 2008
 kinesthetic method. Emile Jacques-Dal-
33
croze's Eurhythmics method combats dull,
s " sedentary habits that arise in a generally
oJ
o. jn cen immobile classroom. Upon peeking into
a Eurhythmic choral classroom, one will
A "
oJ
-- '---'
pi o.
:f
Ja cen - - tern
:f
In
obsel-ve an electric learning atmosphel-e
consistently integrating movement. In this
T " ---- ---- classroom, students' blood is circulating,
bodies are moving, and minds are engaged.
1( -
-
ceil tern in prae se pi Dalcroze's innovative approach inspires
~ ;:--
B
students to embrace and internalize
their own musical education, promoting

--
lern in pme se - pi
long-term, quality learning in the choral

S
36
"
oJ I I
--- classroom.

lern in prae - se pi - o.
NOTES
"
-- ------ -
A
oJ ~- ~ He-
prae se - pi - o. Herbel1: Henke, "Choral Musicianship Via the
,-.--- -;-...... Dalcroze Approach," Chorister Guild Letters,
T " [March 1990]: 226.
~ in pme se - pi - o. 2 Timothy Caldwell, Expressive Singing: Do/craze
o.
.---.. Eurythmics for Voice [Englewood Cliffs, NJ:
B
PI-entice-Hall], IJ
o. in prae se - pi - o. 3 Henke, "Choral Musicianship Via the Dal-
croze Approach," 227.
Figure S. Tomas Luis da Victoria, 0 Magnum Mysteriul1l. mm. 33-39.
4 Lois Choksy et aI., "The Approach of Emile
Jacques-Dalcroze," in Teaching in the
Twentieth Century [Englewood Cliffs:
Prentice-Hall, 1986],27-28.
spinning an "imaginary lasso."42 Singers can of America provides many teachel" training 5 Virginia Mead, "More than Mere Movement,"
begin spinning their lassos at the entl"ance opportunities, and numerous resources Music Educators Journa/ 82, no. 4 [February
of their respective "jacentem in praese- al"e available to further knowledge of the
pio" phrases. Students continue physically
spinning their lassos to propel the phrase,
widening and widening until the "point of
arrival" on the downbeat of m. 37.43 At this
point, singers simultaneously throw their
lassos forward, realizing the unified arrival.
Using the lasso movements, singers will
experience the enel-gy and forward mo-
tion requil-ed for climactic phrases.
C~eryIDu~ont, Artisti~ Director
Eurhythmics exercises, such as those .Bbh thilcott, GuestArtist '
'< ~"" ' ' :', ,:, ,:" .' J ' ,

listed above, inject life into students' sponsort:idby the , ,"

rhythmic internalization, breath enel-gy, New Orleans Children'S Chorus
and phrasing. Teachers are encouraged to eopentoall children's choirs, high school
research, create, and adapt EUI-hythmics treqlechpirs,boychoirs, and girls' choirs
by.audition ' '
exercises to fit their choir's needs. Exer-
e. appl deadline October 1
cises and games should be constantly re-
.... n .-+r.'.,yi-'n C:e.in sf. Louis Cathedral: i
freshed and built upon to avoid boredom , . tile ,FrenchQuarter '.
and disengagement.The Dalcroze Society

Choral Journal May 2008 39

 Mouing to 0 Magnum Mysterium cant.

I 986J: 44.
6 Beth Landis and Polly Carter; "The Approach
of Emile Jacques-Dalcroze," in The Eclectic
Curriculum in American Music Education:
Contributions of Dalcraze, Kodaly, and Orff
[Reston, VA: Music Educators National
Conference, I 972J, 7.
7 Emile Jacques-Dalcroze, Eurhythmics, Art, and
Education, trans. Frederick Rothwell, ed.
Cynthia Cox [New York: B. Blom, I 972J,
106.
8 Ibid.
9 Landis, "The Approach of Emile Jacques-
Dalcroze," 8.
10 Choksy, Teaching in the Twentieth Century, 33.
II Mead, "More than Mere Movement," 44.
12 Landis and Cartel~ "The Approach of Emile
Jacques-Dalcroze;' in The Eclectic Curriculum
in American Music Education: Contributions of
Dalcraze, Kodaly, and Orff, 14.
13 Herbert Henke, "Choral Musicianship via the
Dalcroze Approach," 227.
14Elsa Findlay, Rhythm and MovementApplications
of Dalcroze Eurhythmics [Miami: Summy-
Birchard, Inc. 1971 J, I.
15 Ibid.
16 Emile Jacques-Dalcroze, Rhythm, Music, and
Education, trans. Harold F. Rubinstein [New
York: G.P. Putnam's Sons 1921 J, 127.
17 Choksy et aI., Teaching in the Twentieth Century,
52.
18 Ibid.
19 Choksy et aI., Teaching in the Twentieth Century,
52.
20 Choksy et aI., Teaching in the Twentieth Century,
36.
21 Ibid.
22 Emile Jacques-Dalcroze, Eurhythmics, Art, and
Education, I 08.
23 Mead, "More than Mel-e Movement;' 45.
24 John Hylton, "Keeping Your Choil- on the
Move," Music Educators Joumal 74, noJ
[November 1987]: 33.
25 Brian Marble, "0 Magnum Mysterium," Choral
Public Domain Library, http://wso.williams.
edul cpdl/sheet/victoria/vict-om I.pdf
[accessed November 29, 2007].
Rhythm and Movement Applications of
26 Findlay,
Dalcraze Eurhythmics, 59.
27 Caldwell, Expressive Singing: Dalcroze
Eurhythmics for Voice, 50.
28 Abramson and Caldwell, Dalcraze Eurhythmics
with Robert M.Abramson.
29 Caldwell, Expressive Singing: Da/croze
Eurhythmics for Voice, 50.
30 Findlay, Rhythm and Movement Applications of
Dalcraze Eurhythmics, I.
31 Ibid., 21.
32 Herbel'i Henke, "The Application of Emile
Jaques-Dalcroze's Solfege-rhythmique
to the Choral Rehearsal;' Choral Joumal
[December 1984]: 12.
33 Ibid.
34 Herbert Henke, "The Application of Emile
Jaques-Dalcroze's Sol(ege-rhythmique to the
Choral Rehearsal," 12.
35 Hylton, "Keeping Your Choir on the Move,"
33.
36 Ramona Wis, "Physical Metaphor in the Choral
Rehearsal: A Gesture-Based Approach
to Developing Vocal Skill and Musical
Understanding," Choral Journal 40, no. 3
[October I 999J: 30.
37 Jaques-Dalcroze, Eurhythmics, Art, and Edu-
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38 Landis and Carter; "The Approach of Emile
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39 Landis and Carter; "The Approach of Emile
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Dalcraze, Kodaly, and Orff, 10.
40 Findlay, Rhythm and Movement Application of
Dalcraze Eurhythmics, 12.
41 Wis, "Physical Metaphor in the Choral
Rehearsal: A Gesture-Based Approach
to Developing Vocal Skill and Musical
Understanding," 27.
42 Ibid., 27.
43 Ibid.

The subcommittee for the Julius Herford Prize, given annually by the American Choral Directors
Association, is now accepting nominations for the outstanding doctoral terminal research project in
choral music for 2007.

Turn to page 73, for information on the nomination process.

40 Choral Journal May 2008

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Choral joumal May 2008 41