This paper is one of a series of comparative studies of the Swiss composer and music educator Émile Jaques-Dalcroze (1865-1950) and the German composer and music educator Carl Orff (1895-1985). Based on their backgrounds and accomplishments, this study compared and examined their ''interests and tastes from childhood to adolescence,'' ''changes in compositional techniques,'' and ''figures who influenced them both'' in order to clarify their personalities and their relationship to the construction of educational philosophy. It is found that they shared similar interests and tastes in piano playing, improvisation, simple composition, and playwriting from childhood to adolescence, and while they differed in the changes in their compositional techniques and the number of people who influenced them, it is clear that their educational philosophy was shaped through encounters with many people.

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In this paper, I reflect on my own experience with rhythmic music and discuss the purpose and significance of Eurhythmic education. The experience of Eurhythmic education can help students acquire a free spirit through (1) the relationship between music and movement, (2) the relationship between rhythm and muscular-motor sensation, and (3) the acquisition of an internal sense of music and bodily automatism.

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This time, in tackling the thesis topic ''What is Eurhythmic Education?'', I read the literature on Dalcroze's Eurhythmics again and tried to find my own solution. I came to the conclusion that eurhythmic education is not only for music education, but also has a major role in human education. Among them, I would like to pay attention to ''non-cognitive ability'' and ''body control''. We believe that these abilities are very important abilities for living and that we want to acquire them before entering society. It is an education that should be actively incorporated not only in the field of performance instruction but also in the field of school education.

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