r the
externalization of natural emotions. Experience teaches
me that a man is not ready for the specialized study of
an art until his character is formed, and his powers of
expression developed."

In 1906 was held the first training-course for teachers; how the method
has since grown can be realized by noting that a fortnight was then
considered a sufficient period of training, whilst now the teachers'
course at Hellerau requires from one to three years' steady work. In the
years 1907-9 the short teachers' courses were repeated; in the latter
year the first diploma was granted, experience having shown the need of
this, for already individuals in all parts of the world, after but a few
days' training, in some cases after merely being spectators at lessons,
were advertising themselves as teachers of the method. In 1910
Jaques-Dalcroze was invited by the brothers Wolf and Harald Dohrn to
come to Dresden, where, in the garden suburb of Hellerau, they have
built him a College for Rhythmic Training, a true Palace of Rhythm.

II. PRACTICE[1]

[1] In the preparation of this chapter free use has
been made of the writings of M. Jaques-Dalcroze and of
Dr. Wolf Dohrn, Director of the College of Music and
Rhythm, Hellerau, Dresden.

The method naturally falls into three divisions--

(_a_) Rhythmic gymnastics proper.
(_b_) Ear training.
(_c_) Improvisation (practical harmony).

(_a_) Is essentially the Jaques-Dalcroze method--that which is
fundamentally new. As it is this part of the method which is likely to
prove of great value in all systems of education, not merely as a
preparation for the study of music, but as a means to the utmost
development of faculty in the individual, it will be dealt with in
detail.

(_b_) Is of the greatest importance as an adjunct to rhythmic
gymnastics, since it is through the ear that rhythm-impressions are most
often and most easily obtained. Jaques-Dalcroze naturally uses his own
methods of ear-training, which are extremely successful, but he does not
lay stress on them; he does, however, emphasize the need of such
training, whatever the method, as shall give the pupil an accurate sense
of pitch, both absolute and relative, and a feeling for tonality. The
more these are possessed the greater the use which can be made of
rhythmic gymnastics.

[Illustration: Beating 4/4.]

[Illustration: Movements for the Semibreve.]

(_c_) This