"Despite many years of musical training, I had always felt a bit like an impostor when playing the piano or singing in a choir, as if I was trying to be something I wasn’t. By an extraordinary bit of alchemy, the Carnegie Mellon Dalcroze workshop succeeded in placing the music inside me and me inside the music, at the same time. I have been surprised at my greatly increased facility, musicality, enjoyment, and confidence in all aspects of my music studies. It is as if something inside of me, long dormant, has been set free."

- Veronica Pemberton-Billing, Management Consultant and Part-time Music Student, University of Montreal

"I have known of Dalcroze for many years and always thought of it simply as "music and movement". The summer Dalcroze course at Carnegie Mellon has shown it to be much more extensive. Dalcroze has helped to redefine my own musicianship through the exploration of balance within a musical line as it is felt in movement. As a teacher, it has given me an almost non-verbal language with which to address musical issues with my students. Where words have been inadequate, Dalcroze techniques have communicated the essence of line and musicality with immediate results."

- Marie Miller, Easton Area School District, PA

"I don’t think Dalcroze’s intention was to teach musicians how to have perfect rhythm or prefect performances one hundred percent of the time. I think it was to teach us that we can put a piece of ourselves into the work and that we ourselves and our bodies are the instruments. Dalcroze created the method of Eurhythmics to empower and inspire musicians and I know that I, personally, feel greatly influenced by his method.” 

- Shannyn Rinker, Carnegie Mellon BFA Vocal Performance 2016

"Now that I am a graduate student and have mastered many of the technical issues of my instrument and have a strong knowledge of music theory and history, I know that the creativity and musical skills I have developed in Eurhythmics is what separates me from my other technically proficient peers. As I perform in prestigious competitions and take auditions, the majority of the performers have great technical ability- this is to be expected. The things that separate the cream of the crop from the rest are musicality and creativity. I have found that no other class emphasizes these aspects of music making any more so than Eurhythmics."

-Aaron Purdue, Flute Performance, Carnegie Mellon '08, Graduate Student, Rice University

"Dalcroze Eurhythmics transforms me as a musician, teacher, and person every year. It's refreshing on so many levels."

-Kayla Sadowy, Graduate Percussion Performance Major, Temple University, Philadelphia, PA

"Carnegie Mellon's Dalcroze Eurhythmics program provides an opportunity to learn with some of the finest musicians and educators in the country. There is a gentle, caring environment as you are immersed in the Dalcroze Eurhythmics learning style, all the while being encouraged to improve yourself as a musician." 

 - Carla Colwell, General Music, Commerce, MI

"I came away from the workshop with a renewed sense of just how vitally important it is to get my students up out of their chairs and moving!"

- Judy Chaves, Cello Teacher, North Ferrisburgh, VT

"Working towards my Dalcroze Certificate has heightened my musicianship at every level. The exercises are immediately applicable to my students and have rejuvenated my love for music."

- Tricia Marton, Director Marton Music Studio, Sheboygan, WI

"At every age and stage, Dalcroze work increases our sensitivity to the music around us through reawakening and physicalizing the music inside us. Fusing the inside/outside cultivates musicianship in a deep, joyful, and personal way. My CMU faculty colleagues are experts who care as well as share."

- Rochelle Z. Klein, Assistant Professor/Coordinator of Music and Core Classes, Conservatory of Performing Arts, Point Park University, Pittsburgh, PA

"After studying Eurhythmics at Carnegie Mellon, I have found that the way I think about and practice music has changed for the better. Emile Jaques-Dalcroze’s discoveries and techniques should be taught to all students of music; his tools are not just an addition to ones musical development, but rather an essential perspective that every musician should experience.” 

-Jessica Yang, Carnegie Mellon BFA Flute Performance 2016

"What I enjoy most about eurhythmics workshops is that I always leave refreshed, inspired, and I can't WAIT to get back in the classroom to use all the wonderful ideas and materials I experienced at the workshop."

- Jamie Frye, Music Teacher, Moon Township School District, PA

"...Eurhythmics has helped shape the way I conceive and process music. I asked some of the other students [at a summer program at the École Normale de Musique, Paris, France] if they had to take eurhythmics, to which they responded 'no.' I then explained it to them and they all seem very intrigued; a couple of people even made comments like, 'oh, wow! I wish my school had that...'"

- Dillon Henry, Composition Major, Carnegie Mellon ‘10

"In my line of cultural diplomacy and youth education work in countries emerging from isolation and/or conflict (Iraq, Afghanistan, Turkmenistan, Cambodia, El Salvador, etc), I am continually grateful for the Dalcroze training I received at CMU and the Institut Jaques Dalcroze. I am often thrust into situations… where there is little opportunity for preparation / mixed levels / remedial work, etc. I often use the Dalcroze method to get a quick and visual evaluation on what my students can hear, feel and analyze. Using Dalcroze I can quickly understand what any particular group is capable of learning in just a few minutes. Dalcroze is also a great method for community arts programs where one deals with mixed levels within the same group. Its movement and improvisation activities are also a great ice-breaker and bridge builder in our Unity programs (Iraq / Lebanon) where students of different confessional and ethnic groups must learn to work together."

- John Ferguson, Director of American Voices

"I liked the focus on opening up the creative spark that is within all of us using an approach that is so basic that it feels like we have come home when we let it carry us off into its joy and experience of the music. I liked the challenges the instructors presented and EXPECTED us to meet as we experienced what it meant to start to think, hear, interpret and play music like a Dalcrozian... I thought the instructors were very well chosen...each brought their interpretations of Dalcroze to us so we experienced the very important principal of 'there isn't just one way to do this'... thank you Mr. Dalcroze and the teachers who gave me permission and vocabulary to allow myself to step beyond technique and into the music."

- Georgi Schmitt, Dancer/Musician, Knoxville, TN, currently teaching in Bangkok, Thailand

"In a deceptively vivid way, [Dalcroze Eurhythmics at Carnegie Mellon] had an enormous influence on how I teach, play, learn, compose, improvise, sight-read, and listen. It was, besides my [studio lessons], the only class that attempted to offer me an understanding of music at a human level, an understanding that above all else, I hope I can impart to my students and to my music."

- Ron McBain, Composer and Producer of Music for Film & TV, Los Angeles, CA / Piano Major, Carnegie Mellon ‘04

"Having spent three challenging and exciting weeks at the, 'Marta Sanchez Dalcroze Training Center', I doubt I’ll teach the same again. My experience was satisfying on many different levels. Through the process of living, working, interacting and creating with other world-wide participants, we all seemed to achieve a deeper connection of our individual and collective art. We were strings teachers, piano teachers, university/college theory professors and choral conductors, student and seasoned teachers, fellow high school and middle school choral conductors, dance teachers and elementary music teachers, and others, too. While there we experienced the effective principles of the Dalcroze Training Center: concepts that work well for musicians, singers and instrumentalists alike. The overall result was a dream come true: all participants achieved new and higher level of musical engagement."

- Steve Peter, Director of Choirs, Wilson High School, Portland, Oregon, and High School Repertoire & Standards Chair of Oregon ACDA