| This thesis discusses the connection between Dalcroze musical pedagogy and China’s general music education reform. During my discussion, I propose some ideas that show how teachers can use Dalcroze method in their classrooms to improve instruction and meet new educational expectations. Also, I aim to clarify some common misunderstandings about how this method can be incorporated into China’s general music classrooms.I begin by analyzing Swiss musician and educator Emile Jacque-Dalcroze’s music education system, commonly called the Dalcroze method. It is one of the most adapted music teaching methods worldwide. One of the benefits of this method is that it arouses student’s sensory experiences during music learning, which offers a new way to perceive and express music. This is a key factor that has allowed the method to gain popularity throughout the world.Dalcroze method was introduced in China during the early1980s. Although well received in other countries, it has still not caught on in China. My thesis considers various reasons for this lack of acceptance and summarizes two main causes:1) A lack of awareness about Dalcroze method at the national level;2) Inadequate teacher knowledge about how to incorporate Dalcroze’s system into their curriculum.However, during my research project, I found a strong need of Dalcroze method in our current new music education, for it is consistent with China’s recent General Music Curriculum Standards, such as "centering on aesthetics of music education""encouraging musical creation". Therefore, one of the goals of my thesis is to promote Dalcroze method in China. My discussion helps teachers understand how they can incorporate the use of sensory experiences, eurhythmics and improvisation through fun, game-like activities that encourage student cooperation to improve music instruction in their classrooms. A series of concrete lessons that outline the incorporation of the method into classroom instruction are provided. |
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