<?xml version="1.0" encoding="UTF-8"?><xml><records><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Bispham, John</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">Rhythm in Music: What is it? Who has it? And Why?</style></title><short-title><style face="normal" font="default" size="100%">Music Perception: An Interdisciplinary Journal</style></short-title></titles><dates><year><style  face="normal" font="default" size="100%">2006</style></year><pub-dates><date><style  face="normal" font="default" size="100%">2006</style></date></pub-dates></dates><urls><web-urls><url><style face="normal" font="default" size="100%">http://www.jstor.org/stable/10.1525/mp.2006.24.2.125</style></url></web-urls></urls><volume><style face="normal" font="default" size="100%">24</style></volume><pages><style face="normal" font="default" size="100%">125-134</style></pages><isbn><style face="normal" font="default" size="100%">07307829, 15338312</style></isbn><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">&lt;p&gt;This article explores human rhythmic abilities and behaviors within a framework of evolutionary theory highlighting the need for research in this area to be grounded upon solid psychologically valid definitions of rhythm. A wide-ranging cross-species comparison of rhythmic or quasi-rhythmic behaviors is presented with a view to exploring possible homologies and homoplasies to rhythm in human music. Sustained musical pulse and period correction mechanisms are put forward as human-specific and music-specific traits. Finally hypotheses as to why these abilities may have been selected for—and uniquely selected for—in the course of human evolution are explored.&lt;/p&gt;
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