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advanced, after many years of study were unable to deal with the
simplest problems in rhythm and that their sense for pitch, relative or
absolute, was most defective; that, while able to read accurately or to
play pieces memorized, they, had not the slightest power of giving
musical expression to their simplest thoughts or feelings, in fact were
like people who possess the vocabulary of a language and are able to
read what others have written, yet are unable to put their own simple
thoughts and impressions into words. The analogy here is the simplest
use of everyday language; from this to the art of the essayist or poet
is far; so in music--one who has mastered notes, chords and rhythms can
give musical expression to simple thoughts and feelings, while to become
a composer he must traverse a road that only natural talent can render
easy.

Jaques-Dalcroze took the view that technique should be nothing but a
means to art, that the aim of musical education should be, not the
production of pianists, violinists, singers, but of musically developed
human beings, and that therefore the student should not begin by
specializing on any instrument, but by developing his musical faculties,
thus producing a basis for specialized study. This training could only
be obtained by awakening the sense, natural though often latent, for the
ultimate bases of music, namely, _tone_ and _rhythm_. As the sense for
tone could only be developed through the ear, he now gave special
attention to vocal work, and noticed that when the students themselves
beat time to their singing, the work became much more real, that the
pupils had a feeling of being physically in unison with the music,
indeed the feeling of producing something complete and beautiful.
Following up this hint, "Gesture Songs" were written, which, it was
found, were performed with surprising ease.

Up to this point movement had only been used as an accompaniment to
music, not as a means of expressing it; the next step was to give the
body a training so refined and so detailed as to make it sensitive to
every rhythmic impulse and able to lose itself in any music. This
co-ordination of movement and music is the essence of the
Jaques-Dalcroze method, and differentiates it from all other methods of
similar aim.

So far only arm movements had been employed, and those merely the
conventional ones of the conductor. The next step was to devise a series
of arm movements, providing a means