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The Philosophy of RhythmAesthetics, Music, Poetics$
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Peter Cheyne, Andy Hamilton, and Max Paddison

Print publication date: 2019

Print ISBN-13: 9780199347773

Published to Oxford Scholarship Online: January 2020

DOI: 10.1093/oso/9780199347773.001.0001

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Encoded and Embodied Rhythm

Encoded and Embodied Rhythm

An Unprioritized Ontology

Chapter:
(p.255) 16 Encoded and Embodied Rhythm
Source:
The Philosophy of Rhythm
Author(s):

Peter Cheyne

Publisher:
Oxford University Press
DOI:10.1093/oso/9780199347773.003.0017

Chapter 16 defends an unprioritized ontology regarding the subjectivity and objectivity of rhythm, and thus argues against writers such as Christopher Hasty and Nicholas Cook, who prioritize the subjectivity of rhythm as flow. The chapter argues that because rhythm is perceived through the senses as patterned temporality evoking emotional response, it has both objective and subjective qualities according to Lockean criteria. It contends that rhythm evokes emotional responses in the performer and the audience because it retains impulses and motifs of the past while moving toward the future. The author further argues that the intricacy of actual rhythm prevents neither its description in objective form nor its subsequent performance by other skilled performers who are present and listening attentively.

Keywords:   rhythm, subjective, objective, ontology, John Locke, Matthis Lussy, temporality, expression

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