Abstract
There have been attempts to describe rhythm in technical and musicological terms, yet it has remained one of the most elusive aspects of music for theorists as it is comprised of a range of interacting sounds. This article explores the contribution that could be made by a social semiotic approach to rhythm in popular music. The paper provides an inventory of sound qualities that can be seen as a set of meaning potentials for the creation of certain kinds of groove or movement in music, since these have different kinds of associations in terms of ideas, moods, and attitudes.
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