This chapter argues that after 1914 French modernist composers and performers embraced a neoclassical, repetitive, perpetual-motion-oriented musical style—often termed style dépouillé—to help themselves and others cope with trauma somatically. Examination of psychological, scientific, and medical discourse on the mental, emotional, and physical benefits of rhythmic bodily movement in nineteenth- and early twentieth-century French texts provides a broader context for understanding the interwar popularity of music pedagogue Émile Jaques-Dalcroze’s eurhythmics, a popular interwar musical practice based on the understanding of musical movement as emotionally transformative. Analysis of compositions in the style dépouillé, situated within the context of trauma studies, Dalcroze’s influence, and musicians’ commentaries on how these pieces made them feel, reveals that the challenging musique dépouillée repertoire engaged musicians’ bodies in rhythmically regular corporeal movements and provided them opportunities to process and perform the emotional difficulty of trauma.