Rhythmic Movement and Public School Music Education: Conservative and Progressive Views of the Formative Years

Abstract

The infusion of rhythmic movement into elementary music programs was a gradual process extending from the late 19th century through the third decade of the 20th century, Changing educational philosophies caused the shift from traditional curricular goals focused on singing and note-reading to the more progressive view of rhythmic movement as an avenue for the total development of the physical, social, cultural, and expressive needs of the child, A growing awareness of the eurhythmies techniques of faques-Dalcroze as well as the acceptance of John Dewey's child-centered curriculum persuaded music educators of the progressive New School (a group of philosophers whose aim was the achievement of educational aims through social activism) to develop practices for a comprehensive elementary curriculum of free and creative rhythmic expression. While conservative thinkers, including T. P. Giddings, Will Earhart, Carl E. Seashore, and Jacob Kwalwasser, upheld rhythm as a inherited trait, unalterable through training Charles H, Farnsworth, Karl K. Gehrkens, Mabelle Glenn, and James L. Mursell promoted its cause and tailored curricular materials for its eventual inclusion as a key component in the elementary music curriculum.