Peter Cheyne is Associate Professor at Shimane University, and Visiting Fellow in Philosophy at Durham University. He leads two international projects, one on the Aesthetics of Perfection and Imperfection, and the other on the 17th- to 19th-century Philosophy of the Life Sciences. Andy Hamilton teaches philosophy at Durham University, UK. He specialises in aesthetics, philosophy of mind, political philosophy, and history of 19th- and 20th-century philosophy, especially Wittgenstein. Max Paddison is Emeritus Professor of Music Aesthetics at the University of Durham. He works in critical theory, philosophy, contemporary music, and popular music.

While the overarching rubric is philosophical, the arguments take up residency across the diverse terrain of philosophy ("analytic" and "continental"), cognitive psychology, neuroscience, anthropology, literary studies, musicology, and even visual culture. Most chapters are impressively accessible to non-specialists.

• List of Illustrations List of Abbreviations Notes on Contributors Introduction Part I: Movement and Stasis 1. Dialogue on Rhythm: Entrainment and the Dynamic Thesis 2. Rhythm and Movement 3. The Ontology of Rhythm 4. 'Feeling the Beat': Multimodal Perception and the Experience of Musical Movement 5. Dance Rhythm Part II. Emotion and Expression 6. The Life of Rhythm: Dewey, Relational Perception, and the 'Cumulative Effect' 7. Rhythm, Preceding its Abstraction 8. Mozart's 'Dissonance' and the Dialectic of Language and Thought in Classical Theories of Rhythm 9. Rhythm and Popular Music 10. Rhythms, Resemblance, and Musical Expressiveness Part III: Entrainment and the Social Dimension 11. Metric Entrainment and the Problem(s) of Perception 12. Entrainment and the Social Origins of Musical Rhythm 13. How Many Kinds of Rhythm Are There? 14. Temporal Processing and the Experience of Rhythm: A Neuro-psychological Approach Part IV. Time and Experience: Subjective and Objective Rhythm 15. Complexity and Passage: Experimenting with Poetic Rhythm 16. Encoded and Embodied Rhythm: An Unprioritized Ontology 17. Time, Duration, Rhythm: The Aesthetics of Temporality in Bachelard and Deliège 18. Husserl's Model of Time-Consciousness, and the Phenomenology of Rhythm 19. Pictorial Experience and the Perception of Rhythm 20. Soundless Rhythm Part V. Reading Rhythm 21. Hearing it Right: Rhythm and Reading 22. The Not-so-silent Reading: What Does it Mean to Say that we Appreciate Rhythm in Literature? 23. Leaving it Out: Rhythm and Short Form in the Modernist Poetic Tradition 24. Rhythm, Meter, and the Poetics of Abstraction

Peter Cheyne is Associate Professor at Shimane University, and Visiting Fellow in Philosophy at Durham University. He leads two international projects, one on the Aesthetics of Perfection and Imperfection, and the other on the 17th- to 19th-century Philosophy of the Life Sciences. Andy Hamilton teaches philosophy at Durham University, UK. He specialises in aesthetics, philosophy of mind, political philosophy, and history of 19th- and 20th-century philosophy, especially Wittgenstein. Max Paddison is Emeritus Professor of Music Aesthetics at the University of Durham. He works in critical theory, philosophy, contemporary music, and popular music.

While the overarching rubric is philosophical, the arguments take up residency across the diverse terrain of philosophy ("analytic" and "continental"), cognitive psychology, neuroscience, anthropology, literary studies, musicology, and even visual culture. Most chapters are impressively accessible to non-specialists.

• List of Illustrations List of Abbreviations Notes on Contributors Introduction Part I: Movement and Stasis 1. Dialogue on Rhythm: Entrainment and the Dynamic Thesis 2. Rhythm and Movement 3. The Ontology of Rhythm 4. 'Feeling the Beat': Multimodal Perception and the Experience of Musical Movement 5. Dance Rhythm Part II. Emotion and Expression 6. The Life of Rhythm: Dewey, Relational Perception, and the 'Cumulative Effect' 7. Rhythm, Preceding its Abstraction 8. Mozart's 'Dissonance' and the Dialectic of Language and Thought in Classical Theories of Rhythm 9. Rhythm and Popular Music 10. Rhythms, Resemblance, and Musical Expressiveness Part III: Entrainment and the Social Dimension 11. Metric Entrainment and the Problem(s) of Perception 12. Entrainment and the Social Origins of Musical Rhythm 13. How Many Kinds of Rhythm Are There? 14. Temporal Processing and the Experience of Rhythm: A Neuro-psychological Approach Part IV. Time and Experience: Subjective and Objective Rhythm 15. Complexity and Passage: Experimenting with Poetic Rhythm 16. Encoded and Embodied Rhythm: An Unprioritized Ontology 17. Time, Duration, Rhythm: The Aesthetics of Temporality in Bachelard and Deliège 18. Husserl's Model of Time-Consciousness, and the Phenomenology of Rhythm 19. Pictorial Experience and the Perception of Rhythm 20. Soundless Rhythm Part V. Reading Rhythm 21. Hearing it Right: Rhythm and Reading 22. The Not-so-silent Reading: What Does it Mean to Say that we Appreciate Rhythm in Literature? 23. Leaving it Out: Rhythm and Short Form in the Modernist Poetic Tradition 24. Rhythm, Meter, and the Poetics of Abstraction

Peter Cheyne is Associate Professor at Shimane University, and Visiting Fellow in Philosophy at Durham University. He leads two international projects, one on the Aesthetics of Perfection and Imperfection, and the other on the 17th- to 19th-century Philosophy of the Life Sciences. Andy Hamilton teaches philosophy at Durham University, UK. He specialises in aesthetics, philosophy of mind, political philosophy, and history of 19th- and 20th-century philosophy, especially Wittgenstein. Max Paddison is Emeritus Professor of Music Aesthetics at the University of Durham. He works in critical theory, philosophy, contemporary music, and popular music.

While the overarching rubric is philosophical, the arguments take up residency across the diverse terrain of philosophy ("analytic" and "continental"), cognitive psychology, neuroscience, anthropology, literary studies, musicology, and even visual culture. Most chapters are impressively accessible to non-specialists.

• List of Illustrations List of Abbreviations Notes on Contributors Introduction Part I: Movement and Stasis 1. Dialogue on Rhythm: Entrainment and the Dynamic Thesis 2. Rhythm and Movement 3. The Ontology of Rhythm 4. 'Feeling the Beat': Multimodal Perception and the Experience of Musical Movement 5. Dance Rhythm Part II. Emotion and Expression 6. The Life of Rhythm: Dewey, Relational Perception, and the 'Cumulative Effect' 7. Rhythm, Preceding its Abstraction 8. Mozart's 'Dissonance' and the Dialectic of Language and Thought in Classical Theories of Rhythm 9. Rhythm and Popular Music 10. Rhythms, Resemblance, and Musical Expressiveness Part III: Entrainment and the Social Dimension 11. Metric Entrainment and the Problem(s) of Perception 12. Entrainment and the Social Origins of Musical Rhythm 13. How Many Kinds of Rhythm Are There? 14. Temporal Processing and the Experience of Rhythm: A Neuro-psychological Approach Part IV. Time and Experience: Subjective and Objective Rhythm 15. Complexity and Passage: Experimenting with Poetic Rhythm 16. Encoded and Embodied Rhythm: An Unprioritized Ontology 17. Time, Duration, Rhythm: The Aesthetics of Temporality in Bachelard and Deliège 18. Husserl's Model of Time-Consciousness, and the Phenomenology of Rhythm 19. Pictorial Experience and the Perception of Rhythm 20. Soundless Rhythm Part V. Reading Rhythm 21. Hearing it Right: Rhythm and Reading 22. The Not-so-silent Reading: What Does it Mean to Say that we Appreciate Rhythm in Literature? 23. Leaving it Out: Rhythm and Short Form in the Modernist Poetic Tradition 24. Rhythm, Meter, and the Poetics of Abstraction