RESEARCH

PUBLICATIONS

Ridout R and Habron J (2020) Three Flute Players’ Lived Experiences of Dalcroze Eurhythmics in Preparing Contemporary Music for Performance. Front. Educ. 5:18. 

https://doi.org/10.3389/feduc.2020.00018

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ABSTRACT

This qualitative study presents an interpretative phenomenological analysis of the lived experiences of three flute players who practice Dalcroze Eurhythmics, an approach to teaching, learning, and understanding music through exploring various music-movement relationships in social, creative, and rigorous ways. Our research seeks to understand how these individuals make sense of their lived experiences of Dalcroze Eurhythmics in learning, rehearsing, and performing contemporary music. Data collected through semi-structured interviews were analyzed and interpreted to create codes and categories in each data set. A cross-case analysis brought to light eight main themes: Body and breath; The body as a ‘way in’; Learning through the body overcomes specific technical difficulties; An embodied relationship with the score; Deeper knowledge and connection to music; Clarifying own interpretations; Communication with the audience; A bigger picture beyond the instrument. This study provides new insights into how learning through Dalcroze Eurhythmics can help individuals prepare repertoire for performance. As such, it may be of use to Dalcroze students and teachers, to flute performers and teachers, and to teachers and performers of other instruments who wish to explore the potential of Dalcroze Eurhythmics in learning, rehearsing, and performing contemporary music. The analysis also reveals insights that may be relevant to other repertoires.

Ridout, R. (2019, August 1). How do three flute players make sense of their lived experiences of Dalcroze Eurhythmics in preparing contemporary music for performance?. Fourth International Conference of Dalcroze Studies: ‘The listening body in action’, The Karol Szymanowski Academy of Music, Katowice, Poland.

CURRENT RESEARCH INTERESTS

How does the experience of Dalcroze Eurhythmics shape my eco-literate practices as a performing and educating musician?

I am currently researching my practices as a flute player and educator, exploring lived experiences of my body in movement. This project takes as its starting point the notion that knowledge, including musical knowledge, is constructed through embodied experience.

Throughout my flute studies, I constantly over-analysed my playing, resulting in tension and frustration. Dalcroze Eurhythmics classes helped me begin to overcome the idea of mind-body dualism, and experience flute playing as starting in the body as a whole. This was the basis of a previous IPA research project and was the springboard that propelled me towards researching my own practices through autoethnography. I began with the question "How does the experience of Dalcroze Eurhythmics shape my practice and identity as a performing musician?"

Very quickly into this autoethnographic journey, I realised that the more-than-human world ran throughout my thinking, weaving together my approaches to educational work, personal flute practice, and making works for performance. A whole new research world opened up to me: that of ecoliteracy. To be ecoliterate one needs to have the skills, knowledge, values, and care to live sustainably, and I am discovering how Dalcroze lends itself to working toward this aim.

I am always looking for new avenues to explore these issues, both in education and performance, so if you are reading this and are intrigued, please get in touch!

And I'm collecting photos that inspire me, at least in their experience (not their photography!)