{"id":60392,"date":"2021-08-28T14:36:01","date_gmt":"2021-08-28T04:36:01","guid":{"rendered":"https:\/\/www.horsemagazine.com\/thm\/?p=60392"},"modified":"2021-08-28T15:58:32","modified_gmt":"2021-08-28T05:58:32","slug":"riding-to-music-back-then-and-now","status":"publish","type":"post","link":"https:\/\/www.horsemagazine.com\/thm\/2021\/08\/riding-to-music-back-then-and-now\/","title":{"rendered":"Riding to Music, back then, and now…"},"content":{"rendered":"

Gabriela Grillo played a key r\u00f4le in the development of the K\u00fcr, as a rider, but also as a theorist, as a trained musician who worked to combine the classical principles of dressage with music that was appropriate and sympathetic\u2026<\/h1>\n

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\u201cWith a knowledge of history and classical basics of dressage, one can hardly agree with those who condemn the K\u00fcr as show or circus, for not being classical, or for being a danger to dressage. One should only take these arguments as a warning that the World Cup and\/or the K\u00fcr should not stray from the principles of classical riding.<\/p>\n

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But the roots of riding to music are way back in history – follow the link below to find out more..<\/em>.<\/p>\n

\u201cBy its nature the K\u00fcr trains the riders to feel the horse\u2019s rhythm and work with that rhythm \u2013 rather than imposing the rider\u2019s rhythm on the horse. The rider also relaxes and rides more sensitively when riding to music \u2013 and the horses themselves do respond to the music.<\/p>\n

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Charlotte Dujardin and Valegro on the way to a win at the London Games<\/em><\/p>\n

\u201cThe accent is to ride the test in the classical way to music. One should never forget that the K\u00fcr works towards the symbol of the centaur \u2013 the symbol of ultimate harmony between horse and rider.\u201d<\/p>\n

The K\u00fcr – An Historical Review<\/a><\/p><\/blockquote>\n