For most persons the term "eurhythmics" conjures up a mental image of individuals moving to music. This is an accurate but incomplete image. While "eurhythmics" is the general name given the approach to music learning developed by the Swiss composer, Emile Jaques-Dalcroze (1865-1950), the movement exercises actually represent only one part of his methodology. Jaques-Dalcroze also espoused a unique approach to ear training entitled Solfege-rhythmique which serves as a fine complement to the movement experiences in developing one's musicianship. A third area of emphasis is that of improvisation, although this seems to have been viewed more as a synthesis of the other two areas than as an equal partner.
The choral director who gives serious consideration to the expressed purpose of training in eurhythmics and solfege-rhythmique will immediately recognize goals common to those which are appropriate for the musically literate chorister. In 1909 Jaques-Dalcroze wrote, "The object of the method is, in the first instance, to create by the help of rhythm a rapid and regular communication between brain and body.” He also stated, " … as an artist, I wish to add, that the second result of this education ought to be to put the completely developed faculties of the individual at the service of art and to give the latter the most subtle and complete of interpreters – the human body.” Those who have had eurhythmics training know that the exercises in quick reaction, following, dissociation, phrasing, polyrhythms. Improvisatory movement, and other areas increase one's powers of concentration and analysis. They develop a real sensitivity toward rhythm, they teach people to listen to music and to feel it within themselves, and they involve simultaneously a whole range of faculties – concentration, intelligence, mental alertness, sensibility, and physical movement – all of which lead to greater insight into one's performance.
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