r it opens a rapid correspondence, not only between
imagination and power of performance, between apperception and feelings,
but also between the various kinds of feelings which dwell in us.

[Illustration: The College.]

THE JAQUES-DALCROZE METHOD

I. GROWTH[1]

[1] For much of the material of this chapter the writer
is indebted to Herr Karl Storck, of Berlin, to whose
book _E. Jaques-Dalcroze, seine Stellung und Aufgabe in
unserer Zeit_, Stuttgart, 1912, Greiner & Pfeiffer, the
reader is directed.

Emile Jaques-Dalcroze was born in Vienna on July 6, 1865, of mixed
parentage, his father being a Swiss from St. Croix in the Jura (hence
the artist name Dalcroze), his mother of German extraction. At the age
of eight his parents brought him to Geneva, where in due course he
became a student at the Conservatoire of Music. His musical education
was continued in Paris under Leo Delibes and in Vienna under Bruckner
and Fuchs. For a short period his studies were interrupted by an
engagement as musical director of a small theatre in Algiers--an
opportunity which he used for study of the peculiar rhythms of Arab
popular music, which he found unusually interesting and stimulating.

Returning to Geneva, he earned, by a life of varied activities as
teacher, writer and composer, a standing which in 1892 brought him the
appointment of Professor of Harmony at the Geneva Conservatoire.

The wider experience which the new sphere of work brought was to a
certain extent a disappointment, for with it came clear evidence of what
had before only been suspected, namely, that the education of future
professional musicians was in many ways radically wrong, in that the
training of individual faculties was made the chief object, without
consideration of whether or no these faculties stood in any close
relation to the inner consciousness of the student. In other words, the
aim of the training was to form means of expression, without
consideration of what was to be expressed, to produce a highly trained
instrument, without thought of the art whose servant it was to be, to
take as primary object a thing of secondary importance, indeed only of
importance at all when consequent on something which the usual training
entirely neglected. The students were taught to play instruments, to
sing songs, but without any thought of such work becoming a means of
self expression and so it was found that pupils, technically f