The main object of Dalcroze’s method is to express by rhythmic movements rhythms perceived by the ear. The exactness of such expression is the main aim of the school. The body must react momentarily to the time and sound-units of the music that the ear perceives. As the wind creates waves in the sea, music is meant to create motion in the human body. Percy B. Ingham writes that characteristic exercises of this group are ‘beating the same time with both arms but in canon, beating two different tempi with the arms while the feet march to one or perhaps march to yet a third time, e. g., the arms 3/4 and 4/4, the feet 5/4. There are, also, exercises in the analysis of a given time unit into various fractions simultaneously, e. g., in a 6/8 bar one arm may beat three to the bar, the other arm two, while the feet march six.’ According to Dalcroze’s plastic theory the arms should express the theme in making as many movements as there are notes, while the feet should mark the counterpoint in crotchets, quavers, triplets or semi-quavers. A compound rhythm can be expressed by the arms taking one rhythm, the feet, another. This is meant to correspond to the technical exercises of orchestral music, by training the body to react to the various tones of different instruments. The general purpose, however, is and remains the development of feeling for rhythm by teaching the physical expression of body rhythms. There is no doubt that shades of crescendos and decrescendos, fortes and pianissimos are achieved by this method, yet the question remains: how near does the Dalcroze school come to visualizing the music in all its symbolic and spiritual depths?