Abstract
Rhythm is a universal phenomenon : it appears on ontological level in the different theories of temporality ; on the other hand, it is an empirical phenomenon to be studied in diverse concrete cases. Rhythm appears either in the utterance (énoncé) or in the act of uttering (énonciation). If we apply this to music, it means that rhythm can be written down in the score, or manifested in the performance. Rhythm is a corporeal entity, a psychological reality, it is decisive in social manifestations like in various dances, and rhythm has aesthetics, it is a symbol. The article investigates a great number of cases, from the Viennese gemütlichkeit to the rubato (Bela Bartok), tarantella, scanzione incitativa (Gino Stefani), Kalevala and 5/4 meter, capoeira and batuque, i.e. rhythmic varieties in different cultures.
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