After observing the human body and its varied potential for rhythmic proliferation, especially in the case of material bodies knocked together, Schaeffner reaches an analysis of rhythm and meter in music that extends his thought to the dance. “Headdresses, rustling belts and loincloths, crotal bells hanging from the head or neck, arm or ankle rings, leg and knee coverings: the movement of all these adornments during dancing can influence the dance to alter its steps and gestures for the sake of sonority.” Thus, Schaeffner posits the essential theory whereby all these movements have a musical justification, i.e. to prolong sounds rather than to accompany dance.