Questo volume comprende dieci brani musicali incentrati principalmente sul tema della locomozione. Attraverso la marcia, la corsa, il galoppo, i saltelli, la marcia lenta, dei passi di danza ecc., il corpo padroneggia la pulsazione che è la base della musica. La pulsazione, nel corpo, si traduce con andature nello spazio. Non è possibile sperimentare la pulsazione al di fuori della frase musicale. Dalla pulsazione alla misura al fraseggio, il volume I raggruppa queste nozioni musicali intimamente legate tra loro che danno vita e senso al discorso musicale.
Il volume 2 si basa sulla nozione di pulsazione e sviluppa il concetto di divisione e moltiplicazione della pulsazione di base. Questo ci porta naturalmente a velocità diverse, in precisa relazione tra loro. Queste relazioni implicano necessariamente relazioni tra le nozioni di tempo, spazio ed energia, tema centrale della pedagogia Dalcroze.
Il volume 3 presenta ritmi semplici, creati a partire dai diversi valori di nota presentati nei due volumi precedenti. Si tratta principalmente di combinazioni corto-corto-lungo e lungo-corto-corto. Lo scopo di questi brani musicali è quello di introdurre una varietà di attività che permettano agli studenti di assimilare i ritmi musicali mentre sviluppano le abilità motorie e la coordinazione.
“This is a truly wonderful collection! The beautiful music of Françoise Lombard is perfect for the suggested activity and still she invites the teacher, or the students, to invent other activities and movements. The selections are short so that no one gets tired. There is always something to listen for!
It can also be used as a study of improvisation – how to play a simple introduction, develop an idea, modulate, what makes a good contrast, etcetera.
I recommend it to any classroom music teacher who wants to explore movement as a way to learn to listen.”
“Listening to Françoise’s improvisation in this audio library has been inspiring. Often I find myself standing up and I begin to move while listening. I listen as a Dalcrozian, recognizing its rich pedagogical potential. I also listen just for enjoyment as I immerse in the imaginative music. For Dalcroze students in training, it may serve as examples when they learn to improvise in the teaching context. For classroom music teachers, the recording becomes an indispensable aid for nourishing the students’ ears and their movement experience. Thank you, Françoise, for sharing your creation with us.”
“Your work touches me deeply, your tone, your use of words – words of explanation in your teaching and your writing are clear, and provide so much information, very simply – your easy organization, and of course, the music. There is a calm : it is like the calm of your speech, and your person, that emerges through the music. For example, your tempi are on the slow side, and there is no rushing. The tempi are so real, and human. They are absolutely a reflection of, a model of being with the movement, being it, becoming it, resonating with it . . . all of these things.
Your music provides rich examples for teachers who are immersing themselves in Dalcroze eurhythmics classes with you, and would like to learn how to apply the work in their classrooms. One can hear and feel the movement you are playing for, while listening to your improvised music at the piano. The Audio Library provides a unique way for teachers and students of eurhythmics to learn through active listening, moving to the music, then reading your explanation and analysis.”
“The musical pieces that a music teacher uses in his or her lessons attract the attention, listening and interest of the student. They are the raw material of the music class and are at the heart of the musical experience for both the child and the adult. In her Audio Library, Françoise Lombard offers us magnificent musical improvisations constructed in such a way as to emphasize a specific element of the musical language. Each piece is accompanied by a description of activities that can be performed in class. Based on the Jaques-Dalcroze Eurhythmics, the proposed exercises use body movement, which contributes to a deep understanding of music and promotes the overall development of the individual. This Library is remarkable and a source of inspiration – both musical and pedagogical – for anyone interested in music education. I highly recommend it!”
“… I feel like the Dalcroze spirit of creativity and discovery is shining through your project …”
“… how relevant, precise, beautiful, light, joyful … Thank you also for sharing your melodies to improvise.
It will be useful to all those who know that music is already lived and expressed through and in the body, whether you are an instrumentalist or a singer.”
“I can now offer curated and pedagogical aesthetic experiences to my music students through Françoise’s quality interpretations!”