Rhythm through Experience

Abstract

This article provides a historical context for Placido de Montoliu’s Eurhythmics instruction at Bryn Mawr College, Pennsylvania, between 1913–1922 and 1930–1931, and it highlights pedagogical and philosophical principles that shaped his approach. The research is based on noncirculating, historical documents at the Bryn Mawr College Library Archives. Examples include Placido de Montoliu’s class schedule, contracts, letters, catalogues, student records, photographs, newspaper clippings, and alumni newsletters. Also referenced are Montoliu’s two essays, “The Meaning of Eurhythmics” and “Concepts of Time, Measure and Rhythm,” written in 1931 for Overtones, at the Curtis Institute in Philadelphia, where Montoliu taught between 1925–1940. In an earlier article the author established Montoliu as one of the first of Dalcroze’s students to bring Eurhythmics instruction to America and the first to integrate Eurhythmics fully into an American college curriculum. The present study centers on Montoliu’s assertions that rhythm should be the basis for a child’s first music learning experience and that it should be taught through aural and kinesthetic experience, as opposed to learning through written notation. Montoliu sought to create the “condition” of rhythm in his students through exercises in movement. Within his curriculum, he integrated hearing, singing, reading, coordination, and response. Hand-held percussion instruments were used to simulate ensemble experience, and children were invited to direct the group. Instruction culminated in semiannual demonstrations before the community. Equally important to the development of the child’s coordination and muscle control was cultivation of her artistic temperament. He also placed value on student attention, effort, seriousness, concentration, and interest in Eurhythmics.