This study examines how body movement influences musical learning, focusing on the relationship between flamenco dance and the embodiment of rhythm and harmony in Fantasía Bética (1919) by Manuel de Falla (1876-1946). The purpose of this dissertation is twofold: to suggest a means by which to achieve a stylistically appropriate performance of Fantasía Bética and to investigate the music-movement connection in relation to processes of rhythmic and harmonic embodiment from the pianist’s perspective. In this narrative heuristic inquiry, the researcher documented her learning process for twenty-one months while taking lessons in flamenco, palmas (hand-clapping), and piano improvisation. Data was collected using a reflexive journal and interpreted to create a narrative, identify themes, and conceptualize the embodiment of rhythm and harmony. The post analysis includes implications for teaching. Analyses of the data lead to the discussion of dance movement in rhythmic and harmonic learning, kinesthetic and auditory experiences, and making musical meaning at the instrument. Discussion identifies problems of using movement in musical learning. Themes that emerge from the narrative are explained in relation to writings of Edwin Gordon, Emile Jacque-Dalcroze, Ellen Langer, Moshe Feldenkrais, Diana Raffman and Suzanne Langer. Concepts of embodiment are discussed in connection with those of Alexandra Pierce, Tiger Roholt, and Elisabeth Le Guin.