Although the theoretical importance of dance has always been recognized, dance has been relatively neglected in the philosophy of art. In this sequel to Off the Ground, in which Professor Sparshott focused on the concept of dance in general, A Measured Pace considers the recognized classification of dance as art, its values, and relationship to the other arts.

Sparshott begins with an explanation of the philosophical importance of the major classifications of dance and their basis. He examines dance as a mimetic and expressive medium, and reviews the major dimensions of dance form. He then explores the relationship of dance to three related fields: music, language, and theatre. Sparshott also discusses the major philosophical problems of dance as an art: the specific values of dance; the relation between the way the audience perceives dance and the dancer's self-perception; the ways in which dancing and dances are learned; the division of artistic creation between choreographers and performers; and the ways in which dances are identified and retain their identity through time. A concluding chapter on how dances are recorded considers how the media may change the nature of dance. A Measured Pace is a wide-ranging and substantial contribution to a philosophical understanding of dance.

F.E. SPARSHOTT was born in England and education at King's School, Rochester, and at Corpus Christi College, Oxford, where he obtained the B.A. degree with First Class Honours in 1950. Since 1955, he has been teaching in the Philosophy and Classics Departments at Victoria College, University of Toronto, where he is now Professor of Ethics. Professor Sparshott has been Visiting Associate Professor of Philosophy at Northwestern University (1958-59), a Fellow of the American Council of Learned Societies (1961-62), and Visiting Professor of Philosophy at the University of Illinois, Urbana, (1966). He is author of An Enquiry into Goodness and Related Concepts, The Concept of Criticism, A Divided Voice, and A Cardboard Garage.

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'Sparshott takes what we already know about dance and attempts to uncover underlying logical systems. His conclusions may seem remote from the art of dance itself but demonstrate, for anyone who doubts it, that dance is a subject worthy of serious philosophy.'

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