Rhythmics sees itself as a field of action in art and education, in which music and movement are used in dialogue and across disciplines. Although connoisseurs appreciate rhythmics, the subject itself and the degree programme at conservatoires in particular lack recognition. A lack of understanding of the content-related, historical and interdisciplinary contexts has led and continues to lead to misinterpretations. This volume examines the causes of this, explaining and justifying details to the reader and addressing obvious ambiguities. It is undisputed that movement is of particular importance in music education and music-making as well as in the perception and shaping of life. It is therefore justified to place high demands on the training and professional practice of rhythmicians. A plea in favour of rhythmics and its preservation as a traditional, elementary branch of music and music education.