Rock Paper Shotgun No One Lives Forever

The term was coined, together with "hypermeasures", by Edward T. Cone (1968), who regarded it as applying to a relatively small scale, conceiving of a still larger kind of gestural "rhythm" imparting a sense of "an extended upbeat followed by its downbeat"[27] London (2012) contends that in terms of multiple and simultaneous levels of metrical "entrainment" (evenly spaced temporal events "that we internalize and come to expect", p. 9), there is no in-principle distinction between metre and hypermetre; instead, they are the same phenomenon occurring at different levels.[28]