This year marked the ninth summer the Juilliard School Evening Division has hosted the Dalcroze Institute, directed by Robert Abramson (who is assisted by Daniel Cataneo). Limited to 40 students, the intensive three-week session draws participants from all over the world; this summer, students traveled from Canada, Korea, Brazil, Mexico, Ireland, and 12 states in the U.S.

Students and faculty of the 2002 session of the Dalcroze Institute. Photo by Katherine Gertson

It is common for the Evening Division to receive several calls asking, "What is Dalcroze?" This is not an easy question to answer, as Dalcroze is best explained by experiencing the method. Basically, it is the study of eurhythmics—the experiencing and learning of music through movement. It is an especially good method for teaching young children, as it involves musical games and encourages imagination (which, of course, adults can enjoy, too). The method was created by Emile Jaques-Dalcroze (1865-1950), a Swiss musician and educator who found that his students lacked musical expression even if they had good technical ability. He realized that it is not enough to train the mind or the ear—the entire human body must be brought into play, utilizing the kinesthetic sense (the feedback of muscles in movement) to develop total engagement with music as both sound and feeling. Dalcroze simplified his ideas into three prime areas—rhythmic movement, ear training, and improvisation—which serve as the basis for the three-week institute at Juilliard.

The first week offers, according to Abramson, "just a taste of Dalcroze"—beginning with introductions in the first class, as students "conduct" the shape, tone, and nuance of their names (which the rest of the class must then repeat). Morning classes get underway with warm-ups of stretches and dance moves (provided by Lori Belilove, the founder of the Isadora Duncan Foundation), to prepare the students for a full day of moving. The week is full of eurhythmics: walking, running, galloping, skipping to the beat, as dictated by the music Abramson or Daniel Cataneo provides on the piano. Students learn how to feel and move to the various beats of a musical measure (downbeat, middle beats, upbeat) as well as dynamics (such as a crescendo, decrescendo, fast, slow etc.) They learn to define nuances by moving to the sounds of a dab, a glide, a float, a punch, a flick.

A major highlight is the daily children's class, for which 10 kindergartners from the Mable Barrett Nursery School file in for a 45-minute session with Abramson and Cataneo. The children engage in various musical games as they turn into melting candles; learn how to hear walking, running, galloping, and skipping to a song; and act out a story dictated to them through music.

The first week also includes a master class with Robert Abramson, who works with students to help them find a new rhythmic idea to improve upon their performance. (Abramson involves the entire class to assist each performer through conducting and moving to the music of each performance.) The students leave inspired to apply the new ideas brought forth during the session.

The second and third weeks of the Institute are dedicated to more intensive study, as well as the teacher-training program (aimed at qualifying participants to teach the Dalcroze method at the elementary school level, or to adults). The 25 candidates who continued from the first week must have completed 90 hours of previous Dalcroze training, have a bachelor's degree in related studies, and have previous teaching experience. In addition to demonstrating proficiency in eurhythmics, solfège, and improvisation (verbal, vocal, movement, piano, and percussion) in class, the candidates must submit three different lesson plans (approved by Abramson and Cataneo) on three different subjects derived from 36 Dalcroze rhythm concepts. There is also a demanding exam, in which students are required to choose rhythmic patterns and demonstrate—through creating poetry, movement, singing, and piano improvisation on that rhythm—a clear and logical application of the concepts connected to various musical activities. Finally, the candidates must also teach a class of their own. Those applying for the Certificate (to teach in elementary schools) teach the kindergartners from the Mable Barrett School; those applying for the License (to teach adults) must give an afternoon lesson to the adult class. Completing the teacher-training course and passing the exams is difficult, partly because the students—experienced music teachers themselves—must leave some of their old teaching habits behind in order to be effective. This summer, Abramson awarded four Elementary Certificates and two Licenses to those who completed their exams and performed satisfactorily.

By August 9, the 25 students were ready to return home, with an enormous sense of accomplishment and satisfaction. Those who endured a schedule that would have challenged the "Energizer bunny" for three full weeks spent the final hour toasting with champagne and cake.