Music is more than rhythm; it is a subjective symbolic language of our soul and the universe. It is a mystic factor of life, human and cosmic. There is an unaccentuated language in every genial and great composition, an æsthetic image and philosophic meaning that we can grasp not by means of the intellect but mostly through the emotions, and it is in expressing this that Dalcroze’s school has failed in so far. Dalcroze has aimed to express the elemental factors of the music, and in this he has succeeded. The performances given by Mr. T. Jarecki, one of the most talented of the graduates of Hellerau, are sufficient proof of the fact that the school has its shortcomings in the above-mentioned directions. He performed a Prelude by Chopin, a composition of Rachmaninoff, one by Schubert, and several numbers of other classics in a costume that looked like a bathing suit. Powerful as he was in all his rhythmic grace, he yet failed to translate the musical language of the compositions by means of bodily plasticity. Chopin’s and Rachmaninoff’s preludes possess distinct tonal expressions and designs of something very human and emotional that lies beyond mere rhythm. Poetry is based on the laws of rhythm, yet it is not alone the rhythm that makes a poem beautiful, but the image that it creates. Thus in the art of dance it is not only the rhythm but the æsthetic episode that concerns a dancer most of all. It is the transformation of this phonetic episode into plastic forms, the visualization of the audible beauty, that lies at the bottom of every great dance. This requires certain symbols and those lie beyond the achievements of the Dalcroze graduates. III