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National College Credit Recommendation Service

Board of Regents  |  University of the State of New York

Diller-Quaile School of Music, Inc. (The)

Overview

The Diller-Quaile School of Music, Inc., has been an NCCRS member since May 1993. Diller-Quaile was founded in 1920 by two women, pianists Angela Diller and Elizabeth Quaile. They believed that the capacity for understanding and creating music exists in everyone, so it was essential that their music school provide a dynamic and well-rounded experience not just for select students, but for all. Their purpose was to develop musically sensitive and receptive individuals who played with the eloquence that comes from understanding the structure of music, and the inner relationships of musical elements within a composition. Through inspired teaching, they would awaken in students a responsiveness to the beauty of music and to the subtleties of artistic performance.

The first teachers at the School were selected from among the two founders' adult pupils. As the School grew, so did the need for more teachers, and formal teacher training courses evolved. The Normal School [Teacher Training] provided a three-year course in modern methods of class and piano teaching. The general courses, taught by Diller and Quaile, and other members of the Faculty, included Musicianship, Ear Training, Keyboard and Written Harmony, Musical Form and Teaching Materials and Methods. Two types of certificates were given to students – one for class teaching and one for piano teaching. A feature of this Department was the opportunity for observation of Angela Diller’s teaching of classes for students ages 8-16. In addition to developing materials for teachers, Angela Diller and Elizabeth Quaile collaborated to write the well-known Diller-Quaile Series, publishing the First Solo Book and the First Duet Book in 1918, which became the first volumes in the Diller-Quaile Series.  Their carefully graded series was written for students of all ages and included piano materials for beginners; four levels of solo books; duet books; pedal studies; a first theory book covering the elements of music with a particular focus on ear-training; and four levels of keyboard harmony texts.

Today, Diller-Quaile is a thriving community music school on the Upper East Side of Manhattan, comprised of the Early Childhood Program; the Instrumental and Vocal Department; the Adult Department; the Teacher Training Program, and Community Music Programs and In-School Partnerships. Throughout the year, Rug Concerts for young children and their families, master classes, student recitals, performances by faculty and guest artists, and special events bring the spirit and mission of Diller-Quaile to individuals across the globe.

The belief that music is a fundamental part of human life is at the center of our philosophy and mission. We serve a diverse group of individuals spanning all ages, socioeconomic backgrounds, and ethnicities—all who share a love of music and the desire to grow musically. Diller-Quaile has a proud tradition of not only providing music instruction of the highest caliber, but also sharing and preserving music through public concerts, publications, and recordings.

Diller-Quaile's mission is to develop the innate musicality in each individual, inspiring participation for a lifetime.

Students and admissions representatives please note: NCCRS does not provide transcripts. Transcript requests and inquiries should be directed to the organization offering the courses, examinations or apprenticeship. See the Source of Official Student Records in the sidebar near the top right side of this page.

Source of Official Student Records

Jyni Ekins Registrar/Bursar
24 East 95th Street
New York, NY 10128
United States
Phone: 
212-369-1484
Email: 
info@diller-quaile.org
Organization Website

Descriptions and credit recommendations for all evaluated learning experiences

Early Childhood Music (501)
Location:
The Diller-Quaile School of Music, 24 East 95th Street, New York, NY.
Length:
30 hours (15 weeks); in addition, at least 30 hours of direct field experience.
Dates:

January 1998 - March 2022.

Instructional delivery format:
Traditional classroom model
Learner Outcomes:

Upon successful completion of the course, students will be able to: experience music within a group context through listening, singing, moving, playing small percussion instruments and reading and notating music; develop an increased awareness and appreciation of the musical characteristics and abilities of children from infancy to age six and begin to apply this knowledge to classroom practice; develop an increased awareness and knowledge of the value of music in the integrated curriculum and in multicultural and anti-biased education; develop an increased awareness and knowledge of appropriate music experiences for children with special needs; construct criteria for selecting developmentally appropriate, meaningful song repertoire; explore musical instruments appropriate for improvising and accompanying songs in the early childhood classroom; explore the use of classroom props to enhance music making experiences; develop the ability to play for natural movement using a hand drum; improvise on the recorder: develop the ability to play simple songs on the recorder; internalize and perform repertoire introduced over the course of the semester; develop substantive music lesson plans and integrate this work into the life of the early childhood classroom; discuss and analyze the characteristics of plans which are meaningful, musical, and memorable; develop and utilize tools to assess children's emerging music skills, abilities, behaviors, and attitudes; develop new skills, abilities, and insights from the mentoring sessions included in graduate level course requirements; transfer to classroom practice; build confidence as a music educator; develop a comprehensive understanding of the importance of music in the early childhood classroom; and formulate a personal philosophy of the value and benefits of early childhood music education.

Instruction:

Course participants are early childhood/day care center personnel. This course prepares participants to lead early childhood music experiences in day care centers, Head Start programs or other early childhood educational settings. Through course readings, discussions, and active participation in group music making experiences, students gain an understanding of the musical development of children from infancy through age six, while developing their own innate musicality. Over the course of the semester, students increase their knowledge, skills, and abilities to implement and assess developmentally appropriate, engaging, and meaningful music experiences in their early childhood program. Topics include: engaging in music experiences: singing, moving, playing small percussion instruments to accompany songs and improvise; playing beginner selections on the recorder; child development and the musical development of children-infants through age six; developing criteria for selecting folk music repertoire and finger plays; music in the integrated curriculum; musical experiences for the special needs child; instruments and appropriate props for the early childhood music experiences; curriculum planning: creating developmentally appropriate, engaging, and meaningful music lesson plans; developing long range program goals; preparing classroom space to facilitate effective early childhood music experiences; teacher as facilitator: learning to lead developmentally appropriate, engaging, and meaningful early childhood music experiences; assessment: assessing student responses to early childhood classroom music experiences; music literacy: developing the ability to read standard notation and invent graphic/symbolic representations; exploring emerging literacy and the invented musical notations of young children; staff development, mission statements;and building community through music. Course participants meet several times during the semester in individual or small group mentoring sessions with the instructor, during which the readings are discussed and course goals are reviewed. Each course participant develops a portfolio which holds all assignments and a reflection on each assignment. Course participants are observed in the classroom by the Director of their agency to assess the integration of music within the classroom, improve their teaching effectiveness, and provide opportunities for agency participation. Course participants observe three Diller-Quaile early childhood classes and write reflections based on the theory and practice contained in the course literature. They also conduct a workshop on staff development for their day care colleagues, demonstrating the use of music/movement in the early childhood classroom. At the conclusion of this assignment, they write a short paper synthesizing the experience with the course literature. A thematic unit which integrates and incorporates diverse music/movement experiences, art, and children's literature is developed over the semester. The unit may include long range curriculum plans, daily lesson plans, journaling, documentation of children's work, including photos, recordings, art, homemade instruments, etc. The thematic unit concludes with a short reflective paper summarizing the experience and integrating the course literature. Using the sample assessment form presented in class, course participants assess the developing musicality of one child over a period of time. A final self-evaluation reflects on the course participant's professional growth during the semester.

Credit recommendation:

In the graduate degree category, 2 semester hours in Early Childhood Education, 1 semester hour can be applied as practicum credit or as an elective in any degree program (7/98) (9/03 revalidation) (6/06 revalidation) (6/11 revalidation) (6/16 revalidation). NOTE: Credit is recommended for the successful completion of this course and Early Childhood Level I and/or II, Versions 1 or 2. While the courses are offered as parallel components, the experiences are not duplicative.

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1. Early Childhood Music Level I (101), 2. Early Childhood Music Level II (102)
Location:
The Diller-Quaile School of Music, 24 East 95th Street, New York, NY 10128.
Length:
Course 1. Version 1: 22.5 hours (15 weeks); in addition, at least 30 hours of direct field experience. Course 1. Version 2: 30 hours (15 weeks); in addition, at least 30 hours of direct field experience. Course 2. Version 1: 22.5 hours (15 weeks); in addition, at least 30 hours of direct field experience. Course 2. Version 2: 30 hours (15 weeks); in addition, at least 30 hours of direct field experience.
Dates:

Courses 1 and 2. Version 1: September 1991 - August 1995. Courses 1 and 2. Version 2: September 1995 - March 2022.

Instructional delivery format:
Traditional classroom model
Learner Outcomes:

Courses 1 and 2. Version 1: Upon successful completion of the course, students will be able to: experience music in the group context; sing, play, move, read and write rhythms and melodies; develop the creative impulse in oneself and others; value and use folk song repertoire; create homemade instruments as sample art/music projects for young children; develop individual and group mission statements, goals, and objectives; develop and implement lesson plans; and design a music curriculum to meet the developmental needs of children up to the second grade; share course materials with colleagues. Course 1. Version 2: Students will be able to: experience music within a group context through listening, singing, moving, playing small percussion instruments, and reading and notating music; develop an increased awareness of the musical characteristics and abilities of children from infancy to age six and begin to apply this knowledge to classroom practice; develop an increased awareness and knowledge of the value of music in the integrated curriculum, and in multicultural and anti-biased education; develop an increased awareness and knowledge of appropriate music experiences for children with special needs; construct criteria for selecting developmentally appropriate, meaningful song repertoire; explore musical instruments appropriate for improvising and accompanying songs in the early childhood classroom; explore the use of classroom props to enhance music making experiences; develop the ability to play for natural movement using a hand drum; improvise on the recorder; develop the ability to play simple songs on the recorder; internalize and perform repertoire introduced over the course of the semester; build confidence as a music conductor; formulate a personal philosophy of the value and benefits of early childhood music; and develop the ability to implement an international folk song curriculum that is responsive to the developmental needs and interests of young children, including planned experiences and spontaneous activities related to the ongoing classroom curriculum and day care program. Course 2. Version 2: Continuing from Course 1, students will be able to: continue to experience music within a group context through listening, singing, moving, playing small percussion instruments, and reading and notating music with increased fluency; discuss and describe the musical development of young children and apply course readings to early childhood classroom experiences; identify and practice successful music teaching strategies which foster student engagement; value and articulate the role of music into the integrated curriculum and in multicultural and anti-biased education; discuss music and movement experiences for children with special needs and practice ways curricula can be shaped to provide for each child's unique needs; explore the use of songs, movement, and instruments to dramatize stories; continue to explore a range of musical instruments through music experiences appropriate for the early childhood classroom; practice and improve the ability to play for natural movement using a hand drum; read and perform beginner selections on the recorder and piano; improve music literacy skills through active engagement in these performance experiences; compile and evaluate tools to assess students' musical development; build confidence as a music educator; and further develop the ability to implement an international folk song curriculum that is responsive to the developmental needs and interests of young children, including planned experiences and spontaneous activities related to the ongoing classroom curriculum and day care program.

Instruction:

Course 1, Version 1: Course participants are early childhood/day care center personnel. Topics include: physical and vocal warm-ups; creative movement; sol fa syllables with Cur wen hand signals; French time names; rhythmic reading; melodic reading; rhythmic dictation; staff development; team building; mission statements; making homemade instruments; sound exploration using homemade instruments; family and community feedback; meeting the developmental needs of children through music. NOTE: Activities include movement, singing, team building, role playing, and making instruments. Course 1. Version 2: Course participants are early childhood/day care center personnel. This course prepares participants to lead early childhood music experiences in day care centers, Head Start programs or other early childhood educational settings. Through course readings, discussions, and active participation in group music making experiences, students gain an understanding of the musical development of children from infancy through age six, while developing their own innate musicality. Over the course of the semester, students increase their knowledge, skills, and abilities to implement and assess developmentally appropriate, engaging, and meaningful music experiences in their early childhood program. Topics include: engaging in music experiences; singing, moving, playing small percussion instruments to accompany songs and improvise; playing beginner selections on the recorder; child development and the musical development of children-infants through age six; developing criteria for selecting folk music repertoire and finger plays; music in the integrated curriculum; musical experiences for the special needs child; instruments and appropriate props for the early childhood music experiences; curriculum planning: creating developmentally appropriate, engaging, and meaningful music lesson plans; developing long range program goals; preparing classroom space to facilitate effective early childhood music experiences; teacher as facilitator: learning to lead developmentally appropriate, engaging, and meaningful early childhood music experiences; assessment: assessing student responses to early childhood classroom music experience; music literacy: developing the ability to read standard notation and invent graphic/symbolic representations; exploring emerging literacy and the invented musical notations of young children; staff development; mission statements; and building community through music. Course participants are observed in the classroom by the Director of their agency to assess the integration of music within the classroom, improve their teaching effectiveness, and provide opportunities for agency participation. Course 2. Version 1: Course participants are early childhood/day care center personnel. Topics build upon those covered in Course 1 and include usage and adaptation of musical repertoire in the early childhood/day care center classroom; developing music lesson plans; deriving rhythms from chants and nursery songs; creative music and movement games; observing and reporting on early childhood music sessions; sharing course materials with colleagues. NOTE: Activities include movement, singing, team building, role playing, making instruments, introduction to piano, and presenting reports on an observed class and on the implementation of principles and techniques in course participants' own classroom. Course participants maintain a journal of reflections regarding assignments, and implementation of curriculum in their own and their colleague's classrooms. Course 2. Version 2: Course participants are early childhood/day care center personnel. This course builds on the content of Early Childhood Level I (101). Course participants continue to develop their ability to lead engaging early childhood music experiences, which are responsive to individual and group needs and interests. Additional emphasis is placed on developing musicianship, music lesson planning, and curriculum development, implementing successful music teaching strategies, and creating tools to assess students' musical growth. Course participants learn to play beginner pieces on the recorder and piano. Diller-Quaile faculty visit course participants at their day care center to observe an early childhood music lesson. Topics build upon those covered in Course 1 and include: engaging in music experiences: singing, moving, playing small percussion instruments to accompany songs and improvise; reading and performing beginner selections on the recorder and piano; child development and the musical development of children - infants through age six; applying increased knowledge of the musical development of young children to early childhood classroom practice; refining criteria for selecting folk music repertoire and finger plays; music curriculum planning: creating and critiquing developmentally appropriate, engaging, and meaningful music lesson plans; leading and evaluating developmentally appropriate, engaging, and meaningful early childhood lesson sessions; children's stories: dramatizing children's stories using songs, improvised melodies, props, instruments, and movement; assessment: developing customized tools to assess students' responses to early childhood classroom music experiences; Music literacy: utilizing graphic or symbolic systems to represent sound/music concepts; reading simple rhythmic and melodic notation; using hand levels and pitch numbers to convey melodic contour; using arm gestures to indicate phrase length; motivating colleagues to participate in group music making experiences. Prerequisite: Early Childhood Level I (101) or approval of Executive Director. NOTE: Activities include movement, singing, team building, role playing, making instruments, introduction to piano, and implementation of principles and techniques in course participants' own classroom. Course participants maintain a journal of reflections and observations regarding implementation of a music curriculum in their own classroom. They also tape record themselves leading a music session with young children, which is submitted for discussion by the class and assessment by the instructor. Course participants are also observed in the classroom by the Director of their agency, and later by Diller-Quaile instructional staff, to assess the integration of music within the classroom, improve their teaching effectiveness, and provide opportunities for agency participation.

Credit recommendation:

Course 1, Version 1: In the lower division baccalaureate/associate degree category, 1 semester hour in Early Childhood Education (5/93).  Course 2, Version 1: In the lower division baccalaureate/associate degree category, 1 semester hour in Early Childhood Education (5/93). Courses 1 and 2 combined, Version 1:  In the lower division baccalaureate/associate degree category, 3 semester hours (2 lecture, 1 practicum) in Early Childhood Education (5/93). NOTE: These courses are not applicable to Music/Music Education curricula.  Course 1, Version 2:  In the lower division baccalaureate/associate degree category, 2 semester hours in Early Childhood Education or as an elective in any degree program (6/96 revalidation) (6/01 revalidation) (6/06 revalidation) (6/11 revalidation) (6/16 revalidation). Course 2, Version 2: In the lower division baccalaureate/associate degree category, 2 semester hours as Curriculum Goals in Early Childhood Education or as an elective in any degree program (6/96 revalidation) (6/01 revalidation) (6/06 revalidation) (6/11 revalidation) (6/16 revalidation).Courses 1 and 2 combined,  Version 2: If Courses 1 and 2 are both completed, 1 semester hour of the total 4 recommended for credit could be applied as practicum credit. NOTE: These courses are not applicable to Music/Music Education curricula, except as electives. NOTE: Credit is recommended for the successful completion of Early Childhood Music Level I and/or II, Versions 1 or 2, and Early Childhood Music (501). While the courses are offered as parallel components, the experiences are not duplicative.

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Inactive Learning Experiences - Diller-Quaile School of Music

Dalcroze Core Subjects: Eurhythmics, Solfege, Improvisation - Level: Beginner/Intermediate (505B)
Location:
The Diller-Quaile School of Music, 24 East 95th Street, New York, NY 10128.
Length:
30 hours (15 weeks).
Dates:

February 2001 - December 2017. 

Instructional delivery format:
Traditional classroom model
Learner Outcomes:

Upon successful completion of the course, students will be able to: conceptualize, physically express, and improvise with different measure shapes (showing crusis, anacrusis, and metacrusis); demonstrate familiarity with the concept of "time/space/energy"; understand, physically express, and improvise with music in 9/8, 5/8, and 7/8; understand, physically express, and improvise with 3/4 to 6/8 conversions, including the use of the hemiola; understand, physically express, and improvise with triplets; identify Do-to-do scales in all 7 major scale configurations, and begin to feel comfortable singing them without harmonic support from the piano; work with Do-to-do scales in minor keys, working with the harmonic minor; work with major and minor pentatonics; extrapolate from one's knowledge in Solfege and Eurhythmics in order to analyze pieces of composed music for melody, harmony, and rhythm; analyze and move to basic meters, and standard patterns within those meters.

Instruction:

Instruction follows the tenets of the first semester with Eurhythmics, Solfege, and Improvisation as the basic means to train the mind, body, and ear. In Eurhythmics, participants deal with increasingly complex aspects of rhythm, tempo, and dynamics, as they work in mixed meter and metric conversions. Participants learn to demonstrate canonic and contrapuntal lines both in group activities and in independent challenges, such as stepping one line and clapping another. They are also asked to reflect musical concepts in their own choreography. In Solfege, participants work with minor scales and modes in addition to the major scale. Class exercises require them to listen with sensitivity and sing with good intonation as they manipulate the building blocks of melody, tonality and basic harmony. They also gain experience in writing exercises and pieces that reflect their understanding. Improvisation at the keyboard allows participants to work with the concepts addressed in both Eurhythmics and Solfege. They improvise both in partners and as soloists, gaining skills in listening as well as playing, and finding solutions to the challenges posed by the instructor. Further readings are assigned to provide insight into the Dalcroze approach, and students write short papers on topics that relate what they have learned in class to their own teaching and studying. Participants continue to compile portfolios of their written assignments as well as audio tapes of their improvisation and Solfege homework. Prerequisite:  Eurhythmics, Solfege, Improvisation - Level: Beginner/Intermediate (505A) or by audition.

Credit recommendation:

In the graduate degree category, 2 semester hours in Music, Music Education, or Dalcroze Studies (6/01) (9/06 revalidation) (12/11 revalidation) (12/16 Administrative Review). NOTE: Courses 505A and 505B together constitute a full semester course in Music, Music Education, or Dalcroze Studies.

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Dalcroze Core Subjects: Eurhythmics, Solfege, Improvisation - Level: Beginning/Intermediate (505A)
Location:
The Diller-Quaile School of Music, 24 East 95th Street, New York, NY 10128.
Length:
30 hours (15 weeks).
Dates:

September 2000 - December 2017. 

Instructional delivery format:
Traditional classroom model
Learner Outcomes:

Upon successful completion of the course, students will be able to: conceptualize and physically express concepts focusing on pulse levels and their relationship to each other, particularly the concepts of twice as fast, twice as slow; understand and physically express tempo, phrase lengths, and dynamics; understand, notate, physically express, and improvise with basic rhythmic patterns of simple and compound time; understand and improvise with different permutations of 16th and 8th notes; understand, notate, physically express, and improvise with rhythmic durations in 6/8; move in a canon to given music; use syllables in the "fixed do" system; particularly in scale patterns using dichords, trichords, and particularly in the keys of C, F, and A flat Major and a, d, and f minor with comfort and facility; use numbers to show scale degrees with comfort and facility; work in a contrapuntal fashion through canons and "sing/plays"; improvise with coherent phrasing using patterns and strategies developed through Eurhythmics and Solfege work.

Instruction:

A Dalcroze education is a musical training comprising the basic elements of music: rhythm, dynamics, tone and form. The training has three components: Eurhythmics, which trains the body in rhythm and dynamics; Solfege, which trains the ear, eye, and voice in pitch, melody, and harmony; Improvisation, which puts it all together according to the student's own invention in movement, with voice, and at an instrument. Eurhythmics: The study of rhythm, tempo, and dynamics, their functions and their structural value in music; alerting and educating the kinesthetic sense: the body is the instrument; basic rhythmic skills and concepts: duration, dynamics, time/space/energy/weight/balance, musical form and structure; basic techniques and practices: follow, quick reaction, canon, improvisation. Solfege: The training of ear, eye, voice, and mind to achieve musical literacy; intervals, scales, harmony, counterpoint, rhythmic connections, basic techniques and practices. Improvisation: The control and shaping of spontaneous musical thought: basic keyboard geography, sound qualities, expressive potential, basic structural elements, and basic components of musical content and development; basic techniques and practices. Course participants are accomplished musicians, teachers, and movement specialists who want to develop their musical skills and abilities in the Dalcroze approach. Readings are assigned to provide insight into the Dalcroze approach. Course participants compile a portfolio of compositions of scale patterns, canons, and rhythmecized scales and use rhythmic, melodic, and harmonic understanding to improvise scale pieces.

Credit recommendation:

In the graduate degree category, 2 semester hours in Music, Music Education, or Dalcroze Studies (3/01) (9/06 revalidation) (12/11 revalidation) (12/16 Administrative Review). NOTE: Courses 505A and 505B together constitute a full semester course in Music, Music Education, or Dalcroze Studies.

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Dalcroze Core Subjects: Eurhythmics, Solfege, Improvisation - Level: Intermediate (508A)
Location:
The Diller-Quaile School of Music, 24 East 95th Street, New York, NY 10128.
Length:
30 hours (15 weeks).
Dates:

September 2014 - December 2017.

Instructional delivery format:
Traditional classroom model
Learner Outcomes:

Eurhythmics: Upon successful completion of the course, students will be able to: review the fundamentals of rhythm kinesthetically. These fundamentals include: meter, phrasing, tempo, dynamics, pulse levels, and rhythmic patterns; apply kinesthetic awareness to cognitive analysis of rhythm in simple, compound, and mixed meters; relate and apply movement experiences to rhythmic notation in simple, compound, and mixed meters; conduct and move simultaneously with accuracy and fluency; develop cognitive understanding and physical mastery of complex subjects such 6/8-3/4 transformations, hemiola, functions of complementary rhythm, and varieties of measure shape; demonstrate ability to improvise with rhythmic fundamentals; and relate Dalcroze techniques to students' own listening, practicing, performing, and teaching; Solfege: demonstrate ability to sing in and listen for good intonation; demonstrate fluency in singing with fixed do solfege syllables; demonstrate fluency in singing with numbers (identifying degrees of the scale); analyze and become proficient in singing Dalcroze Do-to-do scales in Major keys; develop the ability to improvise vocally; apply solfege skills to sight singing; perform Sing/Plays - playing one line while singing another; demonstrate ability to sing canons in a group, while listening to counterpoint and resultant harmony; compose and, if necessary, revise a canon with at least two different harmonies; relate modes to Do-to-do scales; develop pitch sensitivity, intonation, and expressive singing; enlarge the listening capacity. Improvisation: apply material from Solfege and Eurhythmics experiences to Improvisation at the keyboard, other instruments, and vocally; demonstrate ability to improvise with clear phrasing and form; demonstrate ability to improvise over increasingly complex harmonic structures; demonstrate ability to harmonize melodies, (commensurate with the piano skills of each student, which will differ); demonstrate ability to play in partners, creating coherent work together; demonstrate ability to improvise with modes; demonstrate ability to play for a variety of movements; and evaluate improvisation based on phrasing, repetition, and contrast. 

Instruction:

Instruction follows the tenets of the first semester with Eurhythmics, Solfege, and Improvisation as the basic means to train the mind, body, and ear. In Eurhythmics, participants deal with increasingly complex aspects of rhythm, tempo, and dynamics, as they work in mixed meter and metric conversions. Participants learn to demonstrate canonic and contrapuntal lines both in group activities and in independent challenges, such as stepping one line and clapping another. They are also asked to reflect musical concepts in their own choreography. In Solfege, participants work with minor scales and modes in addition to the major scale. Class exercises require them to listen with sensitivity and sing with good intonation as they manipulate the building blocks of melody, tonality and basic harmony. They also gain experience in writing exercises and pieces that reflect their understanding. Improvisation at the keyboard allows participants to work with the concepts addressed in both Eurhythmics and Solfege. They improvise both in partners and as soloists, gaining skills in listening as well as playing, and finding solutions to the challenges posed by the instructor. Further readings are assigned to provide insight into the Dalcroze approach, and students write short papers on topics that relate what they have learned in class to their own teaching and studying. Participants continue to compile portfolios of their written assignments as well as audio tapes of their improvisation and Solfege homework. (Prerequisite: 505A or by audition.)

Credit recommendation:

In the graduate degree category, 2 semester hours in Music, Music Education, or Dalcroze Studies (8/14 Administrative Review) (12/16 Administrative Review). NOTE: Courses 508A and 508B together constitute a full semester course in Music, Music Education, or Dalcroze Studies.

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Dalcroze Core Subjects: Eurhythmics, Solfege, Improvisation - Level: Intermediate (508B)
Location:
The Diller-Quaile School of Music, 24 East 95th Street, New York, NY 10128.
Length:
30 hours (15 weeks).
Dates:

January 2015 - December 2017.

Instructional delivery format:
Traditional classroom model
Learner Outcomes:

Eurhythmics: Upon successful completion of the course, students will be able to: review the fundamentals of rhythm kinesthetically. These fundamentals include: meter, phrasing, tempo, dynamics, pulse levels, and rhythmic patterns; apply kinesthetic awareness to cognitive analysis of rhythm in simple, compound, and mixed meters; relate and apply movement experiences to rhythmic notation in simple, compound, and mixed meters; conduct and move simultaneously with accuracy and fluency; develop cognitive understanding and physical mastery of complex subjects such 6/8-3/4 transformations, hemiola, functions of complementary rhythm, and varieties of measure shape; demonstrate ability to improvise with rhythmic fundamentals; and relate Dalcroze techniques to students' own listening, practicing, performing, and teaching; Solfege: demonstrate ability to sing in and listen for good intonation; demonstrate fluency in singing with fixed do solfege syllables; demonstrate fluency in singing with numbers (identifying degrees of the scale); analyze and become proficient in singing Dalcroze Do-to-do scales in Major keys; develop the ability to improvise vocally; apply solfege skills to sight singing; perform Sing/Plays - playing one line while singing another; demonstrate ability to sing canons in a group, while listening to counterpoint and resultant harmony; compose and, if necessary, revise a canon with at least two different harmonies; relate modes to Do-to-do scales; develop pitch sensitivity, intonation, and expressive singing; enlarge the listening capacity. Improvisation: Apply material from Solfege and Eurhythmics experiences to Improvisation at the keyboard, other instruments, and vocally; demonstrate ability to improvise with clear phrasing and form; demonstrate ability to improvise over increasingly complex harmonic structures; demonstrate ability to harmonize melodies, (commensurate with the piano skills of each student, which will differ); demonstrate ability to play in partners, creating coherent work together; demonstrate ability to improvise with modes; demonstrate ability to play for a variety of movements; and evaluate improvisation based on phrasing, repetition, and contrast.

Instruction:

Instruction follows the tenets of the first semester with Eurhythmics, Solfege, and Improvisation as the basic means to train the mind, body, and ear. In Eurhythmics, participants deal with increasingly complex aspects of rhythm, tempo, and dynamics, as they work in mixed meter and metric conversions. Participants learn to demonstrate canonic and contrapuntal lines both in group activities and in independent challenges, such as stepping one line and clapping another. They are also asked to reflect musical concepts in their own choreography. In Solfege, participants work with minor scales and modes in addition to the major scale. Class exercises require them to listen with sensitivity and sing with good intonation as they manipulate the building blocks of melody, tonality and basic harmony. Participants also gain experience in writing exercises and pieces that reflect their understanding. Improvisation at the keyboard allows participants to work with the concepts addressed in both Eurhythmics and Solfege. They improvise both in partners and as soloists, gaining skills in listening as well as playing, and finding solutions to the challenges posed by the instructor. Further readings are assigned to provide insight into the Dalcroze approach, and students write short papers on topics that relate what they have learned in class to their own teaching and studying. Participants continue to compile portfolios of their written assignments as well as audio tapes of their improvisation and Solfege homework. Prerequisite: 505B or by audition.

Credit recommendation:

In the graduate degree category, 2 semester hours in Music, Music Education, or Dalcroze Studies (8/14 Administrative Review) (12/16 Administrative Review). NOTE: Courses 508A and 508B together constitute a full semester course in Music, Music Education, or Dalcroze Studies.

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Dalcroze Core Subjects: Eurhythmics, Solfege, Improvisation - Level: Intermediate/Advanced (506A)
Location:
The Diller-Quaile School of Music, 24 East 95th Street, New York, NY 10128.
Length:
45 hours (15 weeks).
Dates:
September 2000 - December 2006.
Instructional delivery format:
Traditional classroom model
Learner Outcomes:
Eurhythmics: Conceptualize and physically express, with mastery, the basic Dalcroze subjects studied in 505A and 505B: beat, meter, phrase, pattern, subdivision, complementary rhythm, and measure shape; understand and demonstrate physical mastery of more complex instances of these subjects as well as more advanced material with special emphasis on 6/8-3/4 transformations, metric modulation, hemiola, functions of complementary rhythm, twice-as-fast/twice-as-slow, and varieties of measure shape. Solfege: Sing the Dalcroze Do-to-do scales and scale segments: dichord, trichords, tetrachords, pentachords, and chromatic scales with understanding and facility; sing, identify, and notate major and minor scales and modes; demonstrate pitch sensitivity, intonation skills, and expressive singing; demonstrate fluency and skill in vocal in vocal improvisations and compositions; Improvisation: Explore the Solfege subjects studied; play for movement, particularly for the eurhythmics subjects studied; design and execute improvisation plans for solo and duet playing; improvise on the spot with musical coherence; create compositions focusing on a specific task/concept.
Instruction:
A Dalcroze education is a musical training comprising the basic elements of music: rhythm, dynamics, tone and form. The training has three components: Eurhythmics, which trains the body in rhythm and dynamics; Solfege, which trains the ear, eye, and voice in pitch, melody, and harmony; Improvisation, which puts it all together according to the student's own invention in movement, with voice, and at an instrument. Eurhythmics: Rests, syncopation, polyrhythm, unequal beats and measures; coordination of arm beats and stepped patterns; 2 vs. 3, 3 vs. 2; 6/8-3/4 and 6/8-2/4; twice as fast, twice as slow; complementary rhythm, and a more advanced exploration of the basic materials introduced in the first year. Solfege: Compound and inverted intervals; scales: the circle of 5ths, half (7 scales-D flat-G or E flat-A or B flat-E, etc.); Do-to-do scales: 7 Major scales and their relative minors; an introduction to chromatic do-to-do scales (2 relative M/m pairs); modes: Dorian, Mixolydian: relation of modes to do-to-do scales; pentachords: in major, harmonic, and minor; harmony: diatonic circle of 5ths; counterpoint: more complex forms; rhythmic connections with Eurhythmics topics covered in the second year and more advanced exploration of the work of the first year. Improvisation: More advanced work, building on previous training done in the Beginning-Intermediate Level. Particular attention to playing for movement and imagery, and singing the activities of the eurhythmics class. Course participants are accomplished musicians, teachers, and movement specialists who want to develop their musical skills and abilities in the Dalcroze approach. Readings are assigned to provide insight into the Dalcroze approach. Course participants compile a portfolio of compositions of scale patterns, canons, and rhythmecized scales and use rhythmic, melodic, and harmonic understanding to improvise musical pieces.
Credit recommendation:
In the graduate degree category, 3 semester hours in Music, Music Education, or Dalcroze Studies (3/01) (9/06 revalidation).
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Dalcroze Core Subjects: Eurhythmics, Solfege, Improvisation - Level: Intermediate/Advanced (506B)
Location:
The Diller-Quaile School of Music, 24 East 95th Street, New York, NY 10128.
Length:
45 hours (15 weeks).
Dates:
February 2001 - December 2006.
Instructional delivery format:
Traditional classroom model
Learner Outcomes:
Eurhythmics: Conceptualize and physically express, with mastery, one's knowledge of basic and more advanced Dalcroze subjects, with special emphasis on twice-as-fast/twice-as-slow in a 3-beat meter, syncopation, unequal beats and meters, 5-beat and 9/8 meters, and phrasing. Solfege: Sing with understanding and facility scales and scale segments including chromatic scales; understand and sing with knowledge the tri-tone, including its role in modulation to neighbor keys as well as to more distant keys via the Neapolitan and the augmented 6th; improvise vocally and write vocal compositions. Improvisation: Create improvisations and compositions which demonstrate an understanding of material covered in the course as well as developed and refined piano skills.
Instruction:

A Dalcroze education is a musical training comprising the basic elements of music: rhythm, dynamics, tone and form. The training has three components: Eurhythmics, which trains the body in rhythm and dynamics; Solfege, which trains the ear, eye, and voice in pitch, melody, and harmony; Improvisation, which puts it all together according to the student's own invention in movement, with voice, and at an instrument. Eurhythmics: More demanding examination and performance of the major topics studies in 506A, with special attention to the augmentation and diminution (twice as fast/slow, three times a s fast/slow) in 3-beat and 5-beat meters, as well as 6/8; metric transformation of syncopated patterns to unequal beats and vice versa; metric modulation; polymeter; 3 vs. 4, 4 vs. 3, 2 and 3 vs. 5 and vice versa; canonic polyrhythm. Solfege: Application of the work of 506A to vocal improvisation and composition; expanded study of modes: Phrygian, Lydian; intensive study of the tri-tone - its power and versatility; duet and ensemble vocal improvisation; non-diatonic scales: octatonic, whole tone, invented modes; additional chromatic scales. Improvisation: Playing for Eurhythmics class activities; playing for Solfege exercises; song accompaniment; using imagery; reviewing texts (considering issues of prosody) for original songs, composing the songs. Prerequisite: 506A or by audition.

Credit recommendation:
In the graduate degree category, 3 semester hours in Music, Music Education, or Dalcroze Studies (6/01) (9/06 revalidation).
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Dalcroze Methodology: Principles and Practices (507A)
Location:
The Diller-Quaile School of Music, 24 East 95th Street, New York, NY 10128.
Length:
52.5 hours (15 weeks).
Dates:

September 2000 - December 2017.

Instructional delivery format:
Traditional classroom model
Learner Outcomes:

Upon successful completion of the course, students will be able to: discuss the principles and practices of Dalcroze Eurhythmics, a movement-based approach to music education; understand the music-movement connection and the purpose and meaning of a movement-based approach to music education; match the tempo and character of children's basic movements through improvisation with voice, small percussion, and piano; improvise simple piano accompaniments to children's songs.

Instruction:

This course involves the practical application of Dalcroze principles and techniques to the music classroom, from pre-kindergarten to conservatory level. It comprises readings and discussions of the Dalcroze philosophy and observations of master teachers. Course participants observe children's classes given by a certified teacher. Readings are assigned to provide insights into the Dalcroze approach. Students' notes on the assigned readings are integrated into the portfolio of written work, which includes the following: songs and musical examples illustrative of movements and music concepts, a log or personal journal of ideas and thoughts, field notes of observations of the course participants' own classes and classes they observe, a paper with a brief discussion of three Dalcroze subjects including a musical example that illustrates each subject, and a reflective paper on how Dalcroze learning takes place and can be assessed in a eurhythmics class and what standards Dalcroze teachers can use to assess their own teaching. Course participants design exercises and games that help children perceive musical connections and they teach these in children's music classes using Dalcroze techniques. Topics covered include: the music-movement connection; observation of teachers/students in classes; taking field notes; keeping a log or personal journal of ideas and comments; major issues facing classroom teachers, including management; coping strategies available through the Dalcroze approach; the Dalcroze subjects, a multi-faceted approach to music concepts including rhythm, form, articulation, nuances, time/space/energy relationships.

Credit recommendation:

In the graduate degree category, 3 semester hours in Music, Music Education, or Dalcroze Studies (3/01) (9/06 revalidation) (12/11 revalidation) (12/16 Administrative Review).

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Dalcroze Methodology: Principles and Practices (507B)
Location:
The Diller-Quaile School of Music, 24 East 95th Street, New York, NY 10128.
Length:
52.5 hours (15 weeks).
Dates:

February 2001 - December 2017. 

Instructional delivery format:
Traditional classroom model
Learner Outcomes:

Upon successful completion of the course, students will be able to: integrate Dalcroze principles in teaching music to children; plan and carry out age-appropriate exercises based on the movement-based approach to music education formulated by Emile Jaques-Dalcroze; and articulate a personal philosophy of music education for children integrating principles based on the Dalcroze approach.

Instruction:

Course participants design, develop and carryout age-appropriate exercises for classes that use the movement-based approach to music education formulated by Emile Jaques-Dalcroze. At least two lessons for children given by participants are videotaped. Participants take notes following their teaching, observe videotapes of their teaching and comment critically, visit eurhythmics classes for children taught by certified Dalcroze teachers, record observations and comment on their observations, complete assigned readings that emphasize critical thinking and the process of qualitative inquiry and self-evaluation, keep notes on readings to integrate into their portfolio, conduct in-depth study of selected Dalcroze subjects, collect songs and other music material that exemplify specific Dalcroze subjects, and write two papers, each with focus on one Dalcroze subject. Students note emerging themes as they gain more information through the study of Dalcroze subjects, their observations and comments on classes taught by themselves and others, notes on assigned readings, commentaries in their personal journals, and triangulate these to form conclusions about what characterizes the Dalcroze approach. Students also review and discuss classes for children from the beginning of the academic year, begin to develop an overview of a year's course of study of music classes for children, plan an appropriate syllabus, and articulate a personal philosophy of music education for children integrating principles based on the Dalcroze approach. Topics covered include: diagnosis and evaluation of student performance in class through observation; self-evaluation by teacher through discussions with peers, with supervisors, and by keeping a personal journal or log; design and delivery of Dalcroze exercises toward a specific music goal. Prerequisite: 507A or by audition.

Credit recommendation:

In the graduate degree category, 3 semester hours in Music, Music Education, or Dalcroze Studies (6/01) (9/06 revalidation) (12/11 revalidation) (12/16 Administrative Review).

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Elements of Music: An Approach to Pedagogy (An Introduction to Pedagogy)
Location:
The Diller-Quaile School of Music, 24 East 95th Street, New York, NY 10128.
Length:
30 hours (30 weeks).
Dates:
September 1991 - June 1998.
Instructional delivery format:
Traditional classroom model
Learner Outcomes:

Upon successful completion of the course, students will be able to: teach the basic elements of music in a way that develops the musical instinct in every student and inspires a lifetime of participation in music; hear, recognize, name, and write elements of music: rhythmic design (phrasing), melody, and harmony; use appropriate teaching tools; appreciate the folk music of the world as a rich source for study as well as a basis for classical music; and free the creative instinct and develop a classroom format for teaching creative music.

Instruction:
Topics include: form; rhythmic design and phrasing; melody; harmony; teaching tools: French time names, Solfege, and hand signals; eurhythmics; folk song, lieder, and classical music; creative music; use of educational texts. NOTE: Course participants maintain a log during the substantial creative music component to record sequence of activities, invented games, and their reaction to class activities. They also prepare a written book report, an oral book report, and a series of papers on the application of the course materials to solving specific teaching problems.
Credit recommendation:
In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 2 semester hours in Music/Music Education (5/93).
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Piano Pedagogy I (203)
Location:
The Diller-Quaile School of Music, 24 East 95th Street, New York, NY 10128.
Length:
15 hours (15 weeks).
Dates:
September 1992 - June 1998.
Instructional delivery format:
Traditional classroom model
Learner Outcomes:

Upon successful completion of the course, students will be able to: engage the beginning student, encourage the intermediate student, and sustain the interest of students over many years stressing musicality, ear-training, and folk and classical repertoire; assist students to develop the ear and physical skill of playing the piano; and achieve professional goals by working with students and their families.

Instruction:
Course participants have at minimum an intermediate level ability to play the piano. Topics include folk and classical repertoire; the language of music (phrasing and rhythmic design, melodic shape, harmonic color); tone production; improvisation and creative music; technique as a means of expression; the teacher/student relationship; studio management: interviews, policy decisions, fees, and performances. NOTE: Course participants maintain weekly logs on their experience teaching one piano student, prepare written assignments reflecting on their experiences taking piano lessons and on their own teacher's pedagogy and style, and make an oral presentation on their evaluation of beginning repertoire books as to level, quality, musicality, and appeal to children/adults. Further, the course instructor visits and observes two private piano lessons and follows each with a conference and critique with the course participant.
Credit recommendation:
In the lower division baccalaureate/associate degree category or in the upper division baccalaureate degree category, 1 semester hour in Music/Music Education (5/93).
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