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The transmission of musical processes via corresponding movement sequences can be seen as the foundation of Dalcroze Eurhythmics. Accordingly, the sensibility for rhythm and its inherent interplay of tension and relaxation in space and time is significant for the embodied visualisation of music. For creating wider aesthetic experiences and confrontation with the rhythmical structures of music and other artistic expressions—such as visual arts and literature—it can be helpful to take a look at other concepts of rhythm. Recent theories about rhythm from the music theorists Steffen A. Schmidt and Christopher Hasty, as well as the philosophical thoughts about speech from Ludwig Wittgenstein, described as «Saying and Showing», open up additional structures that may enrich the process of artistic creation and performance in eurhythmics.
While a standard definition of (musical) rhythm indicates that it consists of the duration of individual events of sound and silence, this paper suggests that rhythm consists of the units of events such as
sounds, silences and bodily movements which are no preexisting formal objects that can be combined, but units of action that are constituted in the course of rhythmic experience.