by Trent Gilliss, senior editor
Photo by Lee/Flickr, cc by-nc-sa 2.0
Kathy Thomsen, president of the Dalcroze Society of America, took issue with the way we described the function of Dalcroze eurhythmics in both our script for "Meredith Monk’s Voice" and in Krista’s journal entry about the interview. Rather than slapping us on the hand, she provided this helpful clarification, which we will most certainly incorporate into the script if we rebroadcast this show again:
"I enjoyed listening to your recent interview with Meredith Monk but was dismayed to hear your description of a musical experience Ms. Monk had as a child. You said, "She learned a musical method called Dalcroze eurhythmics, a music method to correct early problems with bodily coordination." In the online interview you write, "Dalcroze eurhythmics uses music to create physical alignment."
Whatever benefits Ms. Monk reaped from Dalcroze eurhythmics, those descriptions are not apt. Dalcroze, a Swiss music educator (1865-1950) believed the body was the principal instrument of musical expression and response. Dalcroze eurhythmics engages the whole person — body, mind, and sensibility — in the captivating and often joyous pursuit of moving to music. This whole-body movement is purposeful, and is connected intimately to the music, which is usually improvised on-the-spot by the teacher in response to the students’ movements.
While improved bodily coordination may be a result of Dalcroze eurhythmics, its purpose is to promote discovery — discovery of music and of one’s deep connection to it. And Dalcroze is not just for young children. We have classes in colleges and music conservatories, in public and private schools, and in community music programs for people of all ages. I’m delighted to learn that Dalcroze eurhythmics was part of Ms. Monk’s early music education and that it left a lasting impression.”
Many thanks for the correction, Kathy, and we promise to get it right next time.