3: Music / Time
Music is about time. Music can exist without sound, but arguably, not without time. Accepting music as a temporal phenomenon, we will consider certain theories of the perception of the passing of time in music, as explored and articulated in the early years of the twentieth century. The philosophical distinctions between ‘perceived’ time and ‘measured’ time, as expounded by provide a context for the new ways in which composers began to think about the passing of time at the beginning of the twentieth century. We will then examine ways in which composers have based the temporal articulation of sounds in music on predetermined series and simple mathematical relationships. In this respect, a contrast can be observed between the notion of ‘dividing time’ (apparent in our everyday experience – hours into minutes, minutes into seconds, etc), and the formation of time units from a small, multiply-able base. The latter approach extends the notion of Overtone Rhythms articulated by Henry Cowell. |
Examples will be drawn from, among others, the music and writings of Olivier Messiaen, Karlheinz Stockhausen, Igor Stravinsky, Conlon Nancarrow and George Antheil. |
Prepartion
|
Class Documents
|
Audio & Video
- Leonard Bernstein’s famous series of Norton lectures, The Unanswered Question, delivered at Harvard University in 1973, contain much to enjoy and offer a compelling example of the illustrated lecture. The entire set of lectures, lasting over 11 hours, is available to watch on YouTube. The section dealing with Stravinsky’s polyrhythms in The Rite of Spring starts at 34:48 in lecture 6, The Poetry of Earth.
- BBC Radio 4: In Our Time – Time. Melvyn Bragg and guests discuss the history of mankind’s attempt to understand the nature of time.
|
Articles & Books
Philosophy of Time
- The Experience and Perception of Time and Time from the Stanford Encyclopedia of Philosophy offers a good summary of the various definitions and theories of time.
- Stockhausen’s New Morphology of Time – This paper, by Christopher K. Koenigsberg, discusses Karlheinz Stockhausen’s article “…how time passes…” [Stockhausen, 1957], in which he proposes a “new morphology of musical time”. This new morphology was made necessary by the failure of his serial system to strictly control all the parameters of interesting musical sound, and grew out of his pioneering studio work in pure electronic music. It marked Stockhausen’s embarking on a new direction of investigation and composition, in which he adapted his serial system to control statistical and qualitative musical parameters, rather than deterministic and quantitative parameters which had proved self-defeating. It also opened up the world of the micro-structure of sound, in which he began to think about the smallest atoms of acoustical phenomena.
- Two versions of a paper exploring the approach to music in the ‘Fourth Dimension’ in the music of George Antheil. ‘…like a solid shaft of steel…’ – Time-Space and Time-Form in George Antheil’s Ballet mécanique is the text of a paper given at the ‘Looking Back at the End of Time: Modernism and Beyond’ conference at the University of East Anglia, whilst ‘…Out of and for machines…’: Time-Space and Time-Form in George Antheil’s Ballet mécanique, published in Sonic Ideas, has a greater emphasis on music technology. Associated reading:
|
Rhythmic Practices
- Bernard, J. (1995). ‘Elliott Carter and the Modern Meaning of Time’, in The Musical Quarterly, Vol. 79, No. 4, pp. 644-682. Available via JSTOR at http://www.jstor.org/stable/742379
- Mead, A., 1987. ‘About about Time’s Time: A Survey of Milton Babbitt’s Recent Rhythmic Practice’ in Perspectives of New Music, Vol. 25, No. 1/2, pp. 182-235. Available via JSTOR at http://www.jstor.org/stable/833098
- On Conlon Nancarrow: Dolven, J., 2009. ‘Roll Playing’, in Cabinet Magazine, Issue 34. Available online at http://www.cabinetmagazine.org/issues/34/dolven.php
- Kramer, J. D., 1985. ‘Studies of Time and Music: A Bibliography’ in Music Theory Spectrum, Vol. 7, pp. 72-106. Available via JSTOR at http://www.jstor.org/stable/745881
|
From the Stanford Encyclopedia of Philosophy: Henri Bergson (1859–1941) was one of the most famous and influential French philosophers of the late 19th century-early 20th century. Although his international fame reached cult-like heights during his lifetime, his influence decreased notably after the second World War. While such French thinkers as Merleau-Ponty, Sartre, and Lévinas explicitly acknowledged his influence on their thought, it is generally agreed that it was Gilles Deleuze’s 1966 Bergsonism that marked the reawakening of interest in Bergson’s work. Deleuze realized that Bergson’s most enduring contribution to philosophical thinking is his concept of multiplicity. Bergson’s concept of multiplicity attempts to unify in a consistent way two contradictory features: heterogeneity and continuity. Many philosophers today think that this concept of multiplicity, despite its difficulty, is revolutionary. It is revolutionary because it opens the way to a reconception of community.
Let's Get in Touch