This paper examines how body movement within the frames of Dalcroze Eurhythmics can facilitate musical knowing. Merleau-Ponty's philosophical ideas seem to correspond with the specific empirical findings of Jaques-Dalcroze. Hence, our viewpoint is based on Merleau-Ponty's notions of "knowing the world through the body" as well as of gesture, habit and reversibility. We argue, along with Merleau-Ponty, that the body is our primary mode of knowing. Furthermore, we suggest that body movement represents pre-reflective knowing and can be understood as physical metaphor in the process of musical understanding from the concrete doing/musicing to the abstract and (or) conceptual.