(Lecture at Leipzig, December 10, 1911)

The objection is often raised that under my system the technique of an instrument is acquired too late. But this objection has no foundation in fact. A child who begins rhythmic gymnastics as I would have it in its fifth or sixth year and a year later ear-training, can certainly have piano lessons when eight years old, and I can state from experience that the finger technique of the child will then develop much more quickly, for the musical faculties in general will have been far better developed, more thoroughly trained and become more part of the child's life owing to the preliminary training.

Lessons in rhythmic gymnastics help children in their other lessons, for they develop the powers of observation, of analyzing, of understanding and of memory, thus making them more orderly and precise.

The effect of rhythmic training on the time-table and life of a school is like that of a hot water heating system which spreads an equal warmth through all parts of a building. Teachers of other subjects will find that such training provides them with pupils more responsive, more elastic and of more character than they otherwise would be. Therefore, the study of rhythm, as well as education by means of rhythm, ought to be most closely connected with school life.

The College.

(Address to the Dresden Teachers' Association, May 28, 1912)

From many years' experience of music teaching I have gradually produced a method which gives a child musical experiences instead of musical knowledge.

I expect much from education in rhythm in elementary schools, provided it be given regularly, completely and sufficiently. The exercises should be begun at the age of six, with half an hour's lesson three times a week, but these lessons can quite well be taken from playtime. By the age of twelve two lessons a week are sufficient. This training will not only develop the feeling for beauty and form by accustoming the eye to distinguish beautiful movements and lines from those that are ugly, but also render the children susceptible to musical impressions.

There are always children who are not able to sing in time, or even to beat time, to walk in time, or to graduate the strength and rapidity of their movements. Such children are unrhythmic, and it will generally be noticed that these children are stiff and awkward, often also over-excitable. This lack of rhythm is almost like a disease. It is caused by the lack of balance between the mental and physical powers, which results from insufficient co-ordination between the mental picture of a movement and its performance by the body, and these nervous troubles are just as much the cause as the result of such lack of harmony. In some cases the brain gives clear and definite impulses, but the limbs, in themselves healthy, can do nothing because the nervous system is in confusion. In other cases the limbs have lost the power to carry out orders sent by the brain, and the undischarged nerve-impulses disturb the whole nervous system. In other cases again, muscles and nerves are healthy, but insufficient training in rhythm impedes the formation of lasting rhythmic images in the brain. To repeat, the causes of this lack of rhythm all lie in the important but insufficiently recognized psycho-physiological sphere of the co-ordination of brain, nerve-paths and muscles.

The objection is sometimes made that rhythmic gymnastics cause nerve-strain in children. This is not the case. Several brain specialists have told me that they have effected satisfactory cures with rhythmic gymnastic exercises.

Rhythm is infinite, therefore the possibilities for physical representations of rhythm are infinite.

(Address to Students, der Rhythmus, Vol. I, p. 41, et seq.)

I consider it unpardonable that in teaching the piano the whole attention should be given to the imitative faculties, and that the pupil should have no opportunity whatever of expressing his own musical impressions with the technical means which are taught him.

Whether the teacher himself be a genius is of little importance, provided he is able to help others to develop their own talents.

One can create nothing of lasting value without self-knowledge. The only living art is that which grows out of one's own experiences. It is just the same with teaching; it is quite impossible to develop others until one has proved one's own powers in every direction, until one has learnt to conquer oneself, to make oneself better, to suppress bad tendencies, to strengthen good ones, and, in the place of the primitive being, to make one more complete who, having consciously formed himself, knows his powers. Only in proportion as one develops oneself is one able to help others to develop.

I consider that one does not require to be a genius in order to teach others, but that one certainly does require strong conviction, enthusiasm, persistence and joy in life. All these qualities are equally derived from the control and knowledge of self.

We must, from youth upwards, learn that we are masters of our fate, that heredity is powerless if we realize that we can conquer it, that our future depends upon the victory which we gain over ourselves. However weak the individual may be, his help is required to prepare a way for a better future. Life and growth are one and the same, and it is our duty by the example of our lives to develop those who come after us. Let us therefore assume the responsibility which Nature puts upon us, and consider it our duty to regenerate ourselves; thus shall we help the growth of a more beautiful humanity.

I like joy, for it is life. I preach joy, for it alone gives the power of creating useful and lasting work. Amusement, an excitement which stimulates the nerves instead of uplifting the spirit, is not necessary in the life of the artist. Of course one must often let oneself go, and I should be the last to defend a so-called moral discipline, or a pedantic rule of monastic severity. For a healthy, active person the joy of the daily struggle and of work performed with enthusiasm should be sufficient to beautify life, drive away fatigue and illuminate present and future. This condition of joy is brought about in us by the feeling of freedom and responsibility, by the clear perception of the creative power in us, by the balance of our natural powers, by the harmonious rhythm between intention and deed. It depends upon our creative faculties, both natural and acquired, and becomes greater as these grow. The power of understanding ourselves certainly gives us a sense of freedom, for it opens a rapid correspondence, not only between imagination and power of performance, between apperception and feelings, but also between the various kinds of feelings which dwell in us.

The College.