Émile Jaques-Dalcroze stands as one of the most consequential figures in the reconfiguration of music pedagogy at the turn of the twentieth century. Celebrated as the founder of eurhythmics, he did not simply introduce a new instructional technique; rather, he advanced a far-reaching reconceptualization of musical understanding itself. In doing so, he helped redirect music education away from narrowly cognitive models toward an integrated, experiential paradigm that would resonate deeply with broader currents in progressive educational thought. The foundations of Dalcroze’s eurythmics method rest upon the assertion that musical comprehension is intensified when kinesthetic awareness becomes central element of the learning process. Dalcroze’s investigations into rhythm and perception convinced him that musical experience engages the entire neuromuscular system. From this conviction emerged a pedagogical architecture organized around three mutually reinforcing components—eurhythmics, solfège, and improvisation. Together, they cultivate responsiveness, aural acuity, creativity, and expressive agency, forming a holistic educational design that addresses cognitive, emotional, and physical dimensions simultaneously. This study situates eurhythmics within the broader intellectual framework of the New Education movement, examining both its pedagogical foundations and its interdisciplinary affiliations. Through historical and theoretical analysis, it probes the assumptions underlying Dalcroze’s synthesis of movement and musical perception. In so doing, it argues that his work not only anticipated central tenets of progressive education but also played a formative role in shaping modern conceptions of music pedagogy and performing arts education.

Authors:
Agata Glińska, Grażyna and Kiejstut Bacewicz Academy of Music in Łódź, Poland

About the Presenter(s)
Agata Glińska is an independent scholar holding a Master of Arts degree in Instrumental Performance (Piano) and a Master of Arts degree in Eurhythmics. Her academic and artistic background reflects a strong integration of performance practice and pedagogical inquiry. Her research interests focus on music theory, instrumental performance, and music pedagogy, with particular attention to the relationships between analytical understanding, embodied musical experience, and educational methodology. Through her work, she seeks to bridge theoretical reflection and practical musicianship, contributing to interdisciplinary dialogue within contemporary music studies.

See this presentation on the full schedule – Tuesday Schedule

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