Karin Greenhead

Transformation, personal knowledge and agency through dialogues in movement and music

In developing his teaching method the creator of Dalcroze Eurhythmics, Émile Jaques-Dalcroze, did not rely on theory; instead he experimented with music and movement to address the problems he identified in his students’ understanding and performance of music. These problems encompassed a range of difficulties including rhythmic instability, poor pitch perception, mechanical playing lacking in expression and creativity and an absence of joy in music-making. Movement, music and improvisation run through all branches Dalcroze Eurhythmics (DE) and the fruits of learning are applied in original, artistic and interpretative work of various kinds, in therapeutic situations and in teaching.
Dalcroze practice today includes traditional techniques and approaches and those developed subsequently based on the principles of the method. The range of settings in which it is practised or applied has increased as has the interest in DE itself stimulated also by support for its processes from teaching and learning theory and neuroscience.
Research publications and other literature show that students of DE report having transformational and joyful experiences during lessons. These, often life-changing, experiences may occur suddenly or develop over time. Dalcroze teachers require a particular kind of knowledge of music-movement relationships and their actual and potential connections. To apply this knowledge they need skill in using traditional techniques, developing effective new ones and adjusting their lesson spontaneously in response to the class to create the music-movement dialogues through which the students learn.
This presentation looks at the processes used in rhythmics lessons and the diverse roles that movement and improvisation play in teaching and learning all aspects of music and musical performance: technical and theoretical, creative and interpretative, social and communicative. To gain some practical experience of the kinds of processes used, audience members will be invited to remove their shoes to participate in a range of simple, movement exercises.

Her work is informed by her experience as a performer and her work with dancers. She teaches widely nationally and internationally across North America, Europe, East and South-east Asia and Australia. DR is her application of Dalcroze principles to the rehearsal and performance of repertoire and the subject of her doctoral thesis (2019). She serves as secretary to the Collège of the Institut Jaques-Dalcroze (IJD), Geneva whose Diplôme Supérieur she holds.

Karin’s work extends to peer-review, editing and the supervision of masters and doctoral students. Her publications include instructional literature, research articles and book chapters including Mindful bodies: The Gift of Dalcroze Eurhythmics to the Artist-Musician (2021); The Best Fit: Methodology, Methods, Processes and Outcomes – a Teacher Investigates her own Practice (2021); Dalcroze Eurhythmics: Bridging the Gap between the Academic and Practical through Creative Teaching and Learning (Greenhead, Habron, & Mathieu, 2016) and The Touch of Sound: Dalcroze Eurhythmics as a Somatic Practice (Greenhead & Habron, 2015) .

She co-founded the Dalcroze Eurhythmics International Examination Board (DEIEB) in 2010 and in 2013 the International Conference of Dalcroze Studies (ICDS) where she serves as a member of the scientific committee. She was the practical Keynote presenter for ICDS3 (2017) https://youtu.be/tQ32R9W71ws

For more information:
https://www.rncm.ac.uk (research staff)
www.dalcroze.org.uk

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