It might be a cliché to open with Adorno as the useful antagonist of music that can serve up a beat, but it is this far-reaching rejection of rhythm, as musician and philosopher Agnès Gayraud states in her book Dialectic of Pop, that made the reconciliation of contemporary music with any kind of popular music impossible and the rhythm of the beat a discursive line of difference in Western music. A line that still somehow seems to exist today. But, if we take a step back, what can we actually say about rhythm? […]