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Abstract

This literature review describes the origin and development of Dalcroze Eurhythmics and the implications of utilizing this approach in the choral rehearsal. This information aims to equip choral directors with knowledge about how Eurhythmics can benefit their pedagogical practices and students’ experiences in choir. Émile Jaques-Dalcroze developed Eurhythmics in the late 19th century to facilitate profound musical learning experiences through mind and body integration. Current literature supports that the three Eurhythmics branches (rhythmics, solfège, and improvisation) can be applied to the choral setting and can impact student engagement, enjoyment, and musical achievement in the choral rehearsal (Butke & Frego, 2021; Daley, 2013). I investigated articles and books published since 1915 to establish a chronology of the origin and pedagogical uses of Eurhythmics in the choral environment. Additionally, I conducted a comparative critical review of seven empirical studies to determine the implications of using Eurhythmics in the choral setting. This critical review provides evidence that Eurhythmicsinspired activities can benefit all stages of the choral rehearsal, including musical and non-musical processes. It is also evident that choral conductors can also apply Eurhythmics to improve their curriculum/rehearsal planning, score study, and gesture.

I investigated articles and books published since 1915 to establish a chronology of the origin and pedagogical uses of Eurhythmics in the choral environment. Additionally, I conducted a comparative critical review of seven empirical studies to determine the implications of using Eurhythmics in the choral setting. These studies suggested that Eurhythmics can provide a variety of musical and non-musical learning outcomes in the choral setting. The common musical benefits between the studies were enhanced kinesthetic skills, musical expressiveness, musical understanding, aural skills, music literacy, vocal skills, intonation, creativity, and rhythmic skills. Additionally, the non-musical benefits provided to the participants across the seven studies were enjoyment, self-confidence, risk-taking, social cohesion, engagement, emotional connection, cognition, and an enhanced learning environment. This critical review provides evidence that Eurhythmics-inspired activities can benefit all stages of the choral rehearsal process. In addition to providing musical and non-musical learning outcomes for choristers, conductors can also apply Eurhythmics to improve their curriculum/rehearsal planning, score study, and gesture.

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