Dalcroze Movement Reading

Frego, R, J. D. (n.d.). The approach of Emily Jacques-Dalcroze [blog post]. On the Alliance for Active Music Making. Retrieved from: https://www.allianceamm.org/resources/dalcroze/

Through the readings and videos on Dalcroze and Eurhythmics I have learned a lot about the philosophy behind it and how to apply it in the classroom. From the essay I learned that Eurhythmics is bringing together mind, body and emotions and placing them all at the forefront of learning. There are several ways to use this in a classroom. You can have incorporate movement into solfege exercises so students can combine movement and singing. This particular way of learning alters students from just thinking about music to thinking and actively participating in it using all parts of their brains and body. This way we can get students to start thinking about the intellectual aspects of music instead of just singing and learning solfege. 
In this blog there are several components of Dalcroze's method that are mentioned. The first is rhythmic solfege. "Students develop sensitivity to pitches, their relation to each other, and to the tonal framework (Frego, n.d.). The second component is improvisation. This can mean creating movement when given a melody, or improvising some sort of melody through singing. This can then translate to student's instruments. The last component is Eurhythmics. This means having good rhythm, symmetry, and proportion. These three components all work together, and therefore must all be taught together because they reinforce each other. 
Through these readings I've learned about what Dalcroze's approach is, the three components of this approach, as well as several ways I can use it in a classroom. This will be really helpful when I have to create lesson plans for general music classes.