Teaching Philosophy- Dalcroze Pedagogy (Essay Sample)

The Dalcroze pedagogy Name of learner Institutional affiliation Professor Course code Date Introduction The Dalcroze approach takes experiential learning to a whole new level in music education. Its salient features include the overt training kinaesthetic abilities, asserting that music and movement are an intimate relationship (Anderson, 2011). Experiential learning brings about motivation as a determining factor of success in education (Kong, 2021). The Dalcroze music teaching method takes a student-centred approach in pedagogy and focuses on the rhythm, the auditory experience, and the expressive-improvisation element through which the body learns (Juntunen, 2016). This paper will explore the dynamics of the Dalcroze pedagogy, which are eurythmics, rhythmic solfege, and improvisation, as well as the real-life application in my teaching methods. The basic concepts of the Dalcroze pedagogy Dalcroze pedagogy traces its origins to the early 20th century when Emile-Jaques-Dalcroze realised that most of his students could write rhythm and harmonies but found their performances (through body and voice) a bit more challenging. Eurythmics Eurythmics aims to teach the note values by feet and body movement and time values by arm movements ("Emile Jaques-Dalcroze," n.d.). As a means of musical education and not an end in itself or dance form, the rhythmic movements in eurythmics have considerably influenced 20th-century theatrical dance mainly in the modern Western dances ("Eurythmics | Definition, Dalcroze, & musical education," n.d.). Through eurythmics, the learners can internalise rhythmic expressions to no longer depend on the complexity of the thought process for understanding rhythm. Solfege The terminology "solfege" alludes to activities and studies intended to improve on the limit of hearing, tuning in, answering, singing and playing, recollecting, recognising, and documenting any combination of sounds. Likewise, it aims to have the learners gain the ability to interpret written music into sounds through sight-singing or sight-reading on instruments. Regardless, accuracy hearing isn't as it was focused on good relationship recognition and also the recognition of dynamic and aural nuances of music (Juntunen, 2016). Solfege is an ideal and malleable tool for instruction in all levels of study, enabling learners to become proficient in reading notation and comprehending music theory and refining pitch accuracy, intonation, and vowel placement (Bitner, 2017). It can be easily adaptable in creating exercises to address particular technical issues and understandably. Improvisation Improvisation is based on all the traditional rules of harmony and composition, intended to develop rapidity of decision and interpretation, effortless concentration, immediate plan conception, and direct communication set-up between feelings, the mind, and body (Anderson, 2011). Improvisation enhances creativity and variety due to the natural flow of musical ideas. In Dalcroze’s teaching method, students improvise through movement, singing, or instrument playing, motivating them to express their views, expanding learners’ imagination, and bringing forth a sense of accomplishment and satisfaction. The Constructivist view of learning The Dalcroze instructional approach, just as experiential learning in general, echoes the tenets of constructivism. Instructional developments build on learners’ prior comprehension and knowledge, increasingly proceeding built on their progress and continuing responses. Much as learners are taught at a suitable pace for individual development, it still occurs through interaction with other students. The students are motivated to be attentive and cognizant of different learner movements, team up, and offer solutions to problems by working collectively. The social constructivist view is seen from the concept that the student is an active agent construing knowledge through (inter)action, communication, and experience. Impacts of the Dalcroze approach to my teaching The Dalcroze approach engages several abilities and qualities of a learner, with a personal transformation not limited to music. Firstly, the practice has influenced my students’ physical skills, awareness, and knowledge. This method enables students to manage their movements in instrument playing, singing, and conducting activities. Also, by learning through kinaesthetic experiences as an example, there is a time I asked my students to walk on their toes or heels, sideways or backwards, rather than usually move. I realised that by making such habitual movements, learners were encouraged to try them in many different ways. Such an action as making the familiar strange makes learners familiarise themselves with the ordinary from a different perspective. Moreover, the Dalcroze method has helped me deepen my learners' musical comprehension, as they are not supposed to learn ideas or rules prior to experiencing them. Understanding comes from experience. Research indicates that the Dalcroze approach helps develop learners’ sense of tempo and beat, rhythmic skills, and pitch concept comprehension, which impact their creative thinking (Abril, 2011). A teacher may guide students through precise figurative movements (those embodying a particular musical meaning), allowing learners to understand a specific aspect of it. The Dalcroze approach carries its own sets of challenges. Notably, it isn’t easy to elucidate on the workings of the Dalcroze method, as one must have own experiences, which underlie experimentation and an instructor’s application. Besides, movement exercises require adequate space in the classroom set-up, cautious preparation, and readiness. Working with a vast and hyperactive group such as those...