Abstract
Musicians of all sorts talk of getting “into a groove,” whether using those words or others; musical listeners also talk about the groove of a passage of music, a performance, or a recording. In his four-chapter essay, Groove, Tiger Roholt offers answers to questions that seem obvious candidates for philosophical inquiry yet that few philosophers have even touched on: what is a groove, exactly, and what is it to perceive or understand—to get— a groove? His answers are intriguing, not just because they are thoughtfully argued positions on an important yet neglected topic, but because, if correct, they challenge some central orthodoxies of philosophy of music, at least in the analytic tradition.Roholt’s main...