Noticed that even the most technically advanced conservatory students often struggled with rhythm, coordination, and timing, Émile Jaques-Dalcroze (1865–1950) had a breakthrough insight: if rhythm is expressed through movement, gesture, and coordination, why shouldn’t music education begin with the body? Rather than dry syllable-reading or spoken solfège drills that disconnect students from real musical experience, Dalcroze emphasized whole-body listening and response. He believed musical learning should involve the entire body — not just the fingers or voice, but also arms, legs, posture, and movement in space.