The Dalcroze Society of America is a nonprofit educational organization that welcomes musicians, dancers, actors, therapists, and artist-educators who study and promote the Dalcroze Eurhythmics approach to music learning through rhythmic movement, aural training, and improvisation. Included in membership is a subscription to the Dalcroze Journal, which contains articles of interest, news, and schedules of courses and workshops. The Society is affiliated with the Féderation Internationale des Enseignants de Rhythmique (FIER), a worldwide association of Dalcroze teachers, with headquarters at the Institut Jaques-Dalcroze in Geneva, Switzerland. Every two years the DSA hosts a National Conference. Local chapters of the DSA offer workshops and seminars throughout the year.

A Dalcroze education is a musical training comprising the basic elements of music: rhythm, dynamics, tone and form. It has three branches: Eurhythmics trains the body in rhythm and dynamics; Solfège trains the ear, eye and voice in pitch, melody and harmony; Improvisation puts it all together according to the student's own invention- in movements, with voice, at an instrument. 

For children, and often for adult beginners, these three aspects of the Dalcroze work are integrated in a single class, in which the students move, sing, and play as they engage in a variety of activities involving listening, responding, and inventing. 

As the students become more advanced, the three branches are formally separated, each having its own class. However, in the spirit of musical wholeness that characterizes Dalcroze, each class includes all three aspects of the work. 

Dalcroze training stimulates, develops, and refines all the capacities we use when we engage in music: our senses of hearing, sight, and touch; our faculties of knowing and reasoning; our ability to feel and to act on our feelings. Coordinating these capacities is the kinesthetic sense, the feedback mechanism of the nervous system which conveys information between the mind and the body. The education of this sense to the purposes of music is at the heart of the Dalcroze work. 

This approach, so radical in its inception one hundred years ago, has found its moment in the current explosion of interest and research in music education. The newest discoveries and theories of learning point exactly to the teaching innovations that Dalcroze proposed at the beginning of this century.