scholarly journals What Can the Temporal Structure of Auditory Perception Tell Us about Musical “Timelessness”?

2018 ◽  
Vol 24 (3) ◽  
Author(s):  
Jason D. K. Noble

“Timelessness” is an area of intense interest for many composers and authors interested in 20th- and 21st-century music, but it is not always clear exactly what the term denotes. In particular, the distinction between theinductionof timelessness (the listener’s subjective experience of time is altered or suspended by music) and theperceptionof timelessness (the listener recognizes that the music expresses altered or suspended time) has yet to be clarified. This paper argues that, while experiences of timelessness may beinducedby a wide variety of musics and are not necessarily contingent on specific musical qualities, theperceptionof musical timelessness involves relationships between music’s temporal organization and the temporal structure of auditory perception. Of particular interest are segmentation, sequence, pulse, meter, and repetition. Music whose temporal organization optimizes human information processing and embodiment expresses “human time,” and music whose temporal organization subverts or exceeds human information processing and embodiment points outside of human time, to timelessness. This hypothesis is illustrated with examples from the 20th-century repertoire by Truax, Ligeti, Crumb, Reich, Tenney, Messiaen, and Grisey, music that has been associated with timelessness.

2018 ◽  
Vol 4 (1) ◽  
pp. 96-111
Author(s):  
Tamás Csönge

AbstractThe essay’s aim is to examine the relationship between perspective and nonlinear temporal structure in Attila Janisch’s 2004 film, Másnap, which is loosely based on Alain Robbe-Grillet’s Le Voyeur (1955). My analysis revolves around the understanding of two important narratological distinctions, that between a nonlinear presentation of events and a paradoxical plot, and that between narrative focalizalization and textual focalization. According to David Bordwell, the most widespread definition of linearity is when the successive events of A, B and C are presented in the narrative in their chronological order. Any other form of their presentation results in a nonlinear narrative. But Másnap is a special type of narrative, which highlights the limitation of such traditional dichotomies, because a consistent order of events cannot be reconstructed. Many critics tried to grasp the core of the film’s narrative by trying to put together the original timeline of events, relying on false indicators of logic and coherence, while they failed to recognize the narrative’s real rhetorical purpose in preventing a consistent and unambiguous plot to be established. The narrative’s complexity lies in the fact that both assumptions – that it depicts a subjective experience of time and a storyworld with strange temporality – are necessary to explain the film’s unusual, fragmented structure and interpret its events. I point out how the film requires us to reinterpret the meanings attached to the familiar techniques of continuity editing and how it converts the practices of the early Nouveau Roman, which marginalizes traditional plot-structures, the notion of character, and conventional descriptions of objects, to interact with a subjective vision governed by a fictional mind.


Author(s):  
Silvia Degni

The problem of time in psychology, which first became the object of attention and investigation by scientific psychology concerning the aspect of temporal measurement of mental processes, has been addressed since the early 20th century with regard to the perception of time, also called the subjective experience of time. The reaction time paradigm, defined as the minimum time between the presentation of a stimulus and the participant’s response to it, is closely related to the birth of experimental psychology. The determination of an objective parameter of the speed of the nerve impulse, therefore, represented the initial purpose of the psychochronometric studies. Defining the object of study for experimental psychology as immediate conscious experience or subjective experience of consciousness has led psychologists to reflect on the distinction between physical time and psychological time—a distinction already present in the philosophical field—and to analyze the latter in all its manifestations through sophisticated and complex experimental investigations. Psychologists, although aware of the reflections on time developed by philosophical doctrines and prepared to take these into account, generally tried to steer clear of the questions relating to the typical problems of philosophy—the nature of the idea of time and its corresponding reality—preferring to concentrate their analysis on the subjective experience of time. In relation to the different varieties of the temporal experience, experiments have been conceived and set up to analyze, measure, and precisely define them using the psychophysical and psychophysiological research paradigm. Between the end of the 19th century and the first decade of the 20th century researches concerning perception of the present, simultaneity, succession, instant, and time interval were developed.


Afghanistan ◽  
2019 ◽  
Vol 2 (2) ◽  
pp. 171-194
Author(s):  
Warwick Ball

The Silk Road as an image is a relatively new one for Afghanistan. It appeals to both the pre-Islamic and the perceived Islamic past, thus offering an Islamic balance to previous identities linked to Bamiyan or to the Kushans. It also appeals to a broader and more international image, one that has been taken up by many other countries. This paper traces the rise of the image of the Silk Road and its use as a metaphor for ancient trade to encompass all contacts throughout Eurasia, prehistoric, ancient and modern, but also how the image has been adopted and expanded into many other areas: politics, tourism and academia. It is argued here that the origin and popularity of the term lies in late 20th century (and increasingly 21st century) politics rather than any reality of ancient trade. Its consequent validity as a metaphor in academic discussion is questioned


Author(s):  
B. M. Shustov

During the second half of the 20th century and the beginning of the 21st century, space hazards multiplied, the most urgent of which is space debris. Professionals working in space are exposed to this hazard daily and are aware of it as a problem. Furthermore, increasing attention is being paid to the unpredictable behavior of the Sun, which produces the so-called space weather. The asteroid-comet hazard is considered as potentially having the most catastrophic consequences. No manifestations of biological hazard have yet been observed, although as space activities develop, it is becoming increasingly important. The appropriate time scale for astrophysical hazards is many millions of years, so from a practical perspective, they have no importance. This article briefly describes the main types of space hazards. The author analyzes the results of research and practical work in the field, both worldwide and specifically in Russia. Comparative analysis leads to the clear conclusion that a national program must be developed for the study of space hazards and to respond to space threats. This article is based on a report made by the author at the meeting of the Presidium of the Russian Academy of Sciences (RAS) on January 15, 2019.


Author(s):  
Benedict Taylor

For the nineteenth century, music was commonly characterized as the “art of time,” and provided a particularly fertile medium for articulating concerns about the nature of time and the temporal experience of human life. This chapter examines some of the debates around music and time from the period, arranged thematically around a series of conceptual issues. These include the reasons proposed for the links between music and time, and the intimate connection between our subjective experience of time and music; the use of music as a poetic metaphor for the temporal course of history; its use by philosophers as an instrument for the explication of temporal conundrums; its alleged potential for overcoming time; its various forms of temporal signification across diverse genres; and the legacy of nineteenth-century thought on these topics today.


2021 ◽  
Vol 21 ◽  
pp. 100206
Author(s):  
Connie A. Woodhouse ◽  
Rebecca M. Smith ◽  
Stephanie A. McAfee ◽  
Gregory T. Pederson ◽  
Gregory J. McCabe ◽  
...  

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