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PEDAGOGY
Each level of pedagogy has stages called practicums. Each practicum takes place over the entire course, which is supervised by a faculty member. The supervisor provides feedback to the students as they teach and guides the student so that the lesson ends successfully.
Jaques-Dalcroze pedagogy is not addressed as a methodology but rather as an art form. Students are not provided day-to-day lesson plans but rather shown how to create lessons and the subsequent strategies for themselves.
Each course at the Institute for J-D Education has one focal point, the art of teaching. Not only are students trained as musicians through eurhythmics, solfège, improvisation, and plastique animèe, they are also trained to teach others using the same strategies. Only through a comprehensive experience of the complete Approach Jaques-Dalcroze can the transformation from student to practitioner and then to pedagogue take place.
The process begins with observing the master teacher. An observation always includes listening to the improvised music, watching for the connection between the music and the related exercises, and then linking one concept to the next within the lesson. The process begins with the ear, moves to the eye, and then to the intellect.
Jaques-Dalcroze pedagogy is not addressed as a methodology but rather as an art form. Students are not provided day-to-day lesson plans but rather shown how to create lessons and the subsequent strategies for themselves.
Each course at the Institute for J-D Education has one focal point, the art of teaching. Not only are students trained as musicians through eurhythmics, solfège, improvisation, and plastique animèe, they are also trained to teach others using the same strategies. Only through a comprehensive experience of the complete Approach Jaques-Dalcroze can the transformation from student to practitioner and then to pedagogue take place.
The process begins with observing the master teacher. An observation always includes listening to the improvised music, watching for the connection between the music and the related exercises, and then linking one concept to the next within the lesson. The process begins with the ear, moves to the eye, and then to the intellect.
Gradually, the student assumes responsibility for the class by first directing simple reaction and dissociation exercises. Once mastered at Level One, students move to Level Two
and begin teaching short general music lessons. Here they employ the most basic principals promulgated by Jaques-Dalcroze; listening, space-time-energy, body technique, and theory follows the practice.
In Level Three, pedagogy students begin to teach complete eurhythmics lessons. Students build these lesson of a piece of music literature. They explore the music through listening and movement using social integration, coordination, quick reactions, concentration, and memory. They must also incorporate breathing and spatial orientation, all while creating an atmosphere of joy and positive self-expression.
Pedagogy for the Licentiate is a further development of teaching music using eurhythmics. However, the students must include exercises in solfège and piano improvisation within the 50 to 60-minute lessons. The student must incorporate the doh-to-doh scales, pitch sets, melodic sol-fa, arm beats, rhythm modes, and modulation to the relative major or the dominant key. Furthermore, a few students in the class must have the opportunity to play the piano and improvise as part of the lesson's subject matter.
Pedagogy for the Licentiate is a further development of teaching music using eurhythmics. However, the students must include exercises in solfège and piano improvisation within the 50 to 60-minute lessons. The student must incorporate the doh-to-doh scales, pitch sets, melodic sol-fa, arm beats, rhythm modes, and modulation to the relative major or the dominant key. Furthermore, a few students in the class must have the opportunity to play the piano and improvise as part of the lesson's subject matter.