Temporality (Music)

From the Romantic era onwards music has been seen as the most quintessentially temporal art, possessing a unique capacity to invoke the human experience of time.  Through its play of themes and recurrence of events music has the ability to stylise in multiple ways our temporal relation to the world, with far-reaching implications for modern conceptions of memory, subjectivity, personal and collective identity, and history.  Time, as philosophers, scientists and writers have found throughout history, is notoriously hard to define.  Yet music, seemingly bound up so intimately with the nature of time, might well be understood as disclosing aspects of human temporality unavailable to other modes of inquiry, and accordingly was frequently granted a privileged position in nineteenth-century thought.  For if this age understood time, it was through a melody.
  This book examines the multiple ways in which music may provide insight into the problematics of human time.  Whether in the purported timelessness of Beethoven’s late works or the nostalgic impulses of Schubert’s music, in the use of music by philosophers as a means to explicate the aporias of temporal existence or as medium suggestive of the varying possible structures of time, as a reflection of a particular culture’s sense of historical progress or the expression of the intangible spirit behind the course of human history, each of the book’s chapters explores a specific theme in the philosophy of time as expressed through music.  They chart the development across the course of the nineteenth century of music’s capacity to convey the manifold nuances of time, revealing how music would finally become seen as the ideal instantiation of time and human existence itself.  At once historical, analytical, critical, and ultimately hermeneutic, it provides both fresh insight into many familiar nineteenth-century pieces and a rich theoretical basis for future research.

O Audio Game Breu é um jogo eletrônico constituído exclusivamente por recursos sonoros produzido pela equipe de desenvolvimento de jogos Team Zeroth. O presente artigo pretende fazer uma análise dos elementos temporais presentes na composição musical do Audio Game Breu através de conceitos de temporalidade em música extraídos do livro Time of Music de Jonathan Kramer, ressaltando a capacidade da música alterar a percepção temporal do ouvinte, bem como a experiência interativa e imersiva do jogador. Conceitos outros como forma aberta, forma móbile, sobreposição vertical, eventos e momentos são apresentados. Tendo em vista a necessidade do compositor especializado em produzir áudio para Games de se criar música para acompanhar trechos lineares em custcenes, onde não há interação do jogador e de trechos não-lineares onde há interação do jogador, podendo se resumir em dezenas de horas de tempo de interação, se faz necessário uma maior reflexão acerca do estudo do tempo no contexto da criação de música para jogos eletrônicos.

"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other.

The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity."

Samuel Barber’s 'lyric rhapsody' for soprano and orchestra, 'Knoxville: Summer of 1915' (1947), is one of his most  celebrated and complicated pieces. The most ostensibly backward-looking, nostalgic work of this 'conservative', neoromantic composer, 'Knoxville' is yet atypical of Barber in that by most accounts it is the most American piece in an oeuvre otherwise rarely seen as touched by national flavour. Dating from an era just recovering from the cataclysm of World War II, 'Knoxville' can be seen as conjuring a gentler age, a state of lost innocence, which as its subsequent reception has showed proved an enduring site of cultural memory. And this work that appeals to so many as an embodiment of collective national identity is simultaneously wrapped up in a highly personal response by Barber to a text of James Agee with a deeply autobiographical meaning for author and composer. 'Knoxville: Summer of 1915' offers a rich source of insight into Barber’s music and aesthetics, in its constructions of memory and nostalgia at both a personal, autobiographical level and broader cultural one. Excavating these layers reveals a fuller picture of the composer and what his music has been taken to mean, exposing the relationship between Barber’s private world and wider cultural movements and his often understated politics.

Questa tesi tratta della percezione del tempo nella cultura digitale. Questa verrà colta nella forma dell’atemporalità, intesa come sradicamento dalla storia e perdeita delle relazioni passato-presente-futuro. L'analisi del movimento estetico-musicale della Vaporwave, inquadrato nel suo contesto culturale di riferimento più ampio, consente di mostrare, infatti, la fondamentale atemporalità dell’esperienza nella contemporanea rete globale.

“Rings,” the first movement of Adès’s violin concerto Concentric Paths, evokes the physical process of planetary motion and it is from this process that multiple time-scales arise: the lower-speed outer-orbits of planetary motion correspond to higher registers of pitch where melodies tend to unfold more slowly. The texture of Rings generalizes passages in Bach’s Presto to a post-tonal pitch process: pitches undergo processes that evolve at different rates, causing harmonies to expand, contract, and explode in hexatonic syzygies.

The Quartet in A minor (1827) is one of Mendelssohn's most remarkable works and a historically groundbreaking example of the use of cyclic form. In this work the continual return and transformation of earlier themes creates a complex mode of temporality with far-reaching expressive implications for the articulation of musical time and memory. Drawing on a close analytical reading of the quartet, this article develops a novel hermeneutic interpretation of its cyclic qualities. Mendelssohn's cyclic design, it is argued, introduces a new, fundamentally modern conception of time and narrative journey. Notions of musical memory and multiple time arise from this structure, which crucially require new approaches in order to understand their full potential. In particular, this quartet's manipulation of time has major implications for the phenomenology of musical form and memory. For this, I draw on the theories of Marcel Proust to interpret the cyclic procedures of this quartet, arguing that qualities often associated with later Romantic music are in fact present far earlier in Mendelssohn's music of the 1820s.

The historical past played perhaps a more important role in Mendelssohn’s music than in that of any other composer. This article approaches the work traditionally seen as his first major compositional achievement, the Octet in E flat Major for Strings, op. 20 (1825), from the perspective of the composer’s strong historical sense and takes up ideas of musical memory, history, and circular narrative journey as embodied in the cyclical structure of the piece. The Octet enacts a coming to self-consciousness of its own musical history, a process with close parallels in the writings of Goethe and Hegel, both of whom Mendelssohn knew personally. In its cyclical manipulations of musical time, Mendelssohn’s Octet sets up a new formal and expressive paradigm for a musical work that would be of major significance for the instrumental music of the later nineteenth century.

Distraction is frequently blamed for interfering with the ergonomic production of capital, for encouraging substandard performance. Indeed, it is frequently configured as an impediment to time keeping, a thorn in the side of consciousness, a drag on intentional action, and a brake on decision making. Reality, however, is complex. While distraction can interfere with timing, anxiety, memory, error, and fatigue, it can also be exploited under controlled conditions to enhance performance by helping the performer to maintain an open cognitive and physical responsiveness to the world and a pragmatic mode of engagement with the task at hand. Indeed, distraction ensures that the performer is in close contact cognitively and socially with the full phenomenological plenitude of sound, thereby contributing to performance’s transformative value as a way of accumulating social capital in everyday life.

Situated in the field of musico-literary studies, my research investigates sound and musical experience from a phenomenological perspective in Henry Michaux’s work. This phenomenological approach allows a second perspective of the world ; by removing preconceptions, we try to listen to the sensitive experience. A writer and a painter, Michaux was also an experimenter, improviser and a « musician-child ». Whether through his narratives of musical improvisation, under the influence of hallucinogens or meditation, the works of Michaux are filled with the presence of sound : noises, voices, music (heard or played), auditive hallucinations, resonances, vibrations and full silence all momentarily feature in his writing, and forge in its wake a « sound adventure  » that instils upon the reader a strong impression of sound. Music, this art of movement he disobediently visits without leaving any recordings, has the power « to make temporality sensible  ». Music is a quest of the body where (along with painting) he reflects on lived time and on the shortcomings of writing, of which he feels the slowness in its problematic connection to the present, the immediate, and improvisation. He attempts to mobilize langage, which he perceives as an « immense prefabrication  » : writing then becomes a space for sound and rhythmic games, creating a verbal music, approaching a sound composition. This enables forms of exorcism, healing, affirmation and invention by sound.

Phänomenologie des inneren Zeitbewusstseins, die von Edmund Husserl verarbeitet wurde, nimmt eine ehrenvolle Stelle in der philosophischen Literatur ein. Sie versucht die grosse Veränderlichkeit der Erlebnisse, die die Umwelt in uns erweckt, zu ordnen. Die Reaktion, die in der Literatur über Musik als einer Zeitkunst erzielt wurde, ist völlig verständlich (trotzdem aber noch nicht genügend). Meine Studie bemüht sich die Konzeptionen der musikalischen Zeit, die in der musikphänomenologischen Literatur zu Grundbeiträgen wurden, zu beurteilen. Die Theorien von Alfred Schütz, David Lewin und Juda Lochhead führen diese Akzente aus – eine organische Anknüpfung an Husserl und Festlegungen der Zeitspezifität, eine detailierte Beschreibung der Wahrnehmungsmusikqualitäten in ihrer komplizierten Verknüpfung, Zeitausprägung von umfangreichen Musikflächen und eine mehrdimensionale Einstellung. Alle diese Theorien vervollständigen sich in Erfassung der subjektiv empfindenden Zeit und weisen auf Begrenzungen des phänomenologischen Diskurses über die Musikzeit hin.

Morris's Arc (1988) for String Quartet flows; it flows with substance, and with purpose. By flowing, I don’t just mean in the trivial sense that all music flows because it is unfolding in time and time flows. Rather I mean that there is continuity to its various surges of eventfulness; these surges are not disjunct or sudden. And by substance I mean both that its sound is as a sensuous fluid material and that the unfolding of its constituent events presents a coherent organization, thus binding together into a statement that seems meaningful in retrospect. By purpose I mean not only that there is a local logic to the consequence of one note following another, but also that the flow of events enables the material to organize into processes that forge a trajectory toward a goal.
    The analysis first focuses on local details considered in terms of pitch and pitch-class formations as arising from twelve-tone rows; then it delves into aspects of form, process, and texture. These are considered in terms of emergent properties in flux. The modeling of these properties and their flux employs some mathematical formalisms, but the reader can rely on the fact that every mathematical definition and formula is described carefully in prose as well.
    In Arc, the twelve-tone pitch class details and the surging emergent qualities projecting form are not completely separate from each other. Rather, all these features interact. Thus not only does the article weave together connections between such facets as form, process, and texture, but it also connects these to the twelve-tone rows and pitch-class configurations that are more straightforwardly part of the compositional plan (and more usual in analyses) of Morris’s music.

[Download the pdf below, or contact the author jmailman@alumni.uchicago.edu, for a digital offprint. It can also accessed through JSTOR: www.jstor.org/stable/10.7757/persnewmusi.52.2.0249 ]

Luciano Berio's Sequenza XI stands as a major work in the 20th-century guitar repertoire. Although it has been extensively analysed in previous scholarship, its performance practice has not been addressed. In this paper, I set out to fill this gap by analysing fifteen commercial recordings of the work, and furthermore seek to demonstrate how different categories of musical time-experience (after UTZ, 2017) can be used as a frame for discussing performers' interpretative decisions. I propose a formal analysis of the work and provide time-based measurements of the score, which I then compare to the performed sound structures. The results allow me to map the main trends in the performance practice of Sequenza XI in commercial recordings produced between 1993 and 2016, as well as to relate these trends to the discourses of the performers involved.

Felix Mendelssohn has long been viewed as one of the most historically minded composers in western music. This book explores the conceptions of time, memory and history found in his instrumental compositions, presenting an intriguing new perspective on his ever-popular music. Focusing on Mendelssohn's innovative development of cyclic form, Taylor investigates how the composer was influenced by the aesthetic and philosophical movements of the period. This is of key importance not only for reconsideration of Mendelssohn's work and its position in nineteenth-century culture, but also more generally concerning the relationship between music, time and subjectivity. One of very few detailed accounts of Mendelssohn's music, the study presents a new and provocative reading of the meaning of the composer's work by connecting it to wider cultural and philosophical ideas.

Keywords: Mendelssohn; Cyclic Form; Octet, Op. 20; Piano Sonata in E, Op. 6; String Quartet in A minor, Op. 13; String Quartet in E flat, Op. 12; Symphony No. 3 in A minor ('Scottish')

• Presents the most extended consideration of cyclic form yet, allowing full consideration of this important nineteenth-century idea
• Considers music in relation to notions of subjectivity, time, history and memory, providing a significant contribution towards the current interest in these topics
• Connects Mendelssohn's music to wider cultural and philosophical ideas

Contents

Introduction
1. The idea of cyclic form
2. Musical history and self-consciousness: the Octet, Op. 20
3. Returning home: the E major Piano Sonata, Op. 6
4. In search of lost time: the A minor Quartet, Op. 13
5. Overcoming the past: the E flat Quartet, Op. 12
6. Cyclicism in Mendelssohn's mature music

Die Schwarze Mensuralnotation folgt dem Prinzip einer Relation zwischen Werten, welches eine Bindung zwischen Zeitmaß und Notenwert bedeutet. Eine Notengattung wird innerhalb einer vorliegenden Division gemessen, welche hier das Tempo oder Zeitmaß eigentlich ist und arithmetisch zugeordnet wird. Diese Einteilung der Notengattung in Notenwerten ist nicht absolut aber relativ, da hier ein Zeitverhältnis vorliegt.

George Enescu (1881–1955) falls askance customary narratives of twentieth-century music. Belonging to a lost generation situated between the late-Romantic modernism of Strauss and Mahler and the radical modernism of Schoenberg and Stravinsky, familiar historiographic notions find little hold on his music. The present article seeks to establish more pertinent aesthetic categories for understanding Enescu by proposing that his music is characterized by its idiosyncratic approach to time and its perceived spatial attributes. Drawing on a range of thinkers from both Enescu’s native Romania and his adopted homeland of France, the article offers a series of five studies around Enescu’s music, using a variety of interconnected concepts such as landscape, rhythm, and memory to map out the boundaries of a conceptual space for it to inhabit. These sections examine the construction and problematization of a national and nostalgic musical landscape in the Romanian Rhapsody No. 2; the powerful sense of space and movement created by the First Orchestral Suite; the vast cyclic networks of the Octet and Symphony No. 2; and the role of childhood memory in such works as the Impressions d’Enfance and Suite Villageoise.

Este artigo tem por objetivo apresentar uma pequena sequência nas proposições de tempo na música do século XX. A primeira imagem para tratar desta questão é aquela das imagens de tempo entre os gregos, e que vez ou outra retornam no imaginário poético de compositores, suas músicas, seus escritos. Chronos, Aion e Kairos. Chronos é o hoje do presente relativo, ponto móvel sobre a flecha do tempo, sua medida. É a Chronos que estão relacionados os ciclos, a linearidade do tempo, bem como a memória, sua reversibilidade. Aiôn, seria o tempo não medido; tempo liso, duração ilimitada em um espaço finito, ou o “internel” como definido por Charles Péguy em Clio. Já Kairos é o tempo da ocasião, o instante do corte, ponto de inflexão, o quase nada de Jankelevich,  aquele ponto em que algo se transforma definitivamente. Três imagens que atravessam o pensamento ocidental, e que espelham ou são espelhados nas mais diversas culturas. São estas três imagens que procuro aqui mapear suas presenças na música do século XX, da suspensão do tempo cronológico tonal realizada pela música serial ao tempo fora dos eixos da nova complexidade.

Ogni prodotto drammaturgico presenta molteplici livelli di lettura temporale: l’oggettiva durata dello spettacolo; l’effettivo tempo della fabula; il tempo percepito dallo spettatore; quello percepito dai personaggi dell'opera in base al contesto azioneemozione in cui sono calati. Musicologi, critici del teatro e letterati si sono occupati in modo abbastanza approfondito dei primi tre aspetti: solo per citarne alcuni, Carl Dahlhaus analizza il «tempo rappresentato» e il «tempo della rappresentazione», mentre Piermario Vescovo e Luigi Magnani si soffermano rispettivamente sulla percezione temporale dello spettatore (che assiste al dramma) o dell’artista (in fase di creazione). Lacunosi, invece, risultano gli studi sul tempo percepito dagli stessi personaggi, nonostante la psicologia del tempo e l'estetica musicale legata alla concezione di 'tempo' possano ormai fornire una chiave di lettura del prodotto teatrale o operistico a partire proprio dalle necessità estetiche e psicologiche dei 'personaggi-motore'. Nel caso specifico di questo studio, intendo offrire spunti e riflessioni che aprano ad una lettura dell’opera verdiana, partendo dai comportamenti di alcuni personaggi che meglio si prestano ad un’analisi psicologica del proprio tempo di appartenenza. Un approccio più emico che etico in quanto i personaggi verdiani, agendo per modificare o salvaguardare la loro storia personale, nonché anelando ad un 'tempo altro' rispetto a quello in cui sono coinvolti, sono da intendersi come persone vere e proprie, con una psicologia ben caratterizzata e, nei casi più estremi, come pazienti disagiati da sottoporre ad analisi psicologica, ma sempre partendo dal loro mondo psicologico soggettivo. La scelta è ricaduta sul trio Otello, Jago, Desdemona, vista la loro complementarietà di ‘appartenenza temporale’. Partendo da alcune considerazioni di Paul Fraisse e di Ludwig Binswanger sottolineerò l’appartenenza di Otello al ‘mondo sepolcrale’ per via del desiderio del ‘ritorno al passato’; l’appartenenza di Jago al ‘mondo etereo’ per via dell’atto di volontà che si traduce in ‘fuga verso l’avvenire’; il ‘rifugio nell’atemporalità’ di Desdemona. Rispettivamente, i tre personaggi appartengono al passato, al futuro, all’‘attimo eterno’. La metodologia di analisi che ho voluto adottare è triadica e comprende due ragionamenti: il primo induttivo e il secondo deduttivo. Dal particolare (estratti del libretto) giungo a conclusioni generali relative alla percezione del tempo dei singoli personaggi. Da qui, confermo le leggi generali ottenute tornando nuovamente all'analisi del particolare (estratti della partitura). Tramite un’osservazione dei dati ottenuti cercherò di constatare quanto la musica di Verdi riesca a ‘sublimare’ e a rendere vividi anche nello spettatore i tempi psicologici vissuti dai vari personaggi e quali espedienti musicali siano funzionali a tale scopo.

This chapter examines ensemble dynamics and time consciousness in indeterminate music, using John Cage's Concert for Piano and Orchestra (1957-8) as a case study. Drawing on interviews and observational studies undertaken with the experimental music ensemble Apartment House, I examine the role of temporal indeterminacy in the socio-musical interactions that characterize performance, and its implications for the musicians' experiences. In doing so, the chapter makes a broader contribution in its consideration of the ways in which issues of authorship and authority are negotiated in such temporal interactions, and how the dynamics of these negotiations present a sociality based on a 'separate togetherness', whereby performers play together (out of time) with one another.

The subtitle of Gérard Pesson’s (born 1958) short piano piece Ambre Nous Resterons (2008), states that it is composed ‘after’ François Couperin’s ‘Les Ombres Errantes’ (1730). But how might we decide if it is an arrangement of it? By way of this question, this paper will interrogate how conceptions of musical temporality mediate listeners’ engagement with arrangements. It is therefore not concerned with either categorization or terminological quibbles.

Time is curiously absent from the scholarly literature on arrangements, despite most authors tacitly accepting the idea that arrangements re-present the temporal organisation of their sources. This notion is exemplified by Pesson’s indication that Ambre Nous Resterons ‘follow[s] the harmony of the tutelary work step by step’. Such statements metaphorically posit musical works as paths which listeners traverse unidirectionally, a reified temporal structure that arrangements are expected to ‘follow’. However, the work’s ‘temporal re-presentation’ of Couperin’s music is far from straightforward, leaving one critic ‘overwhelmed by … [Pesson’s] dilated relationship with time.’ Pesson’s anagrammatic title is also suggestive of temporal (re)ordering.

Through close analysis, this paper addresses how Pesson problematizes (as well as evoking) ideas of ‘temporal re-presentation’ and corresponding conceptions of workhood.

"[N]ot only is music an open-ended category, but so is time. What we call The Temporal is best viewed not as one thing – not one category, or quality, or characteristic, or sensibility, or experience, or 'realm' -- but rather an assemblage of different 'machineries,' very much like Latour’s reassembling of the category known as 'the Social.' We could say that there is no single temporal dimension, but many; no domain of reality to which the label 'temporal' or 'in time' could be attributed; that time is not a context in which everything is framed, but rather types of relationships among experiences, within and among bodies."

"Beat induction (BI) is the cognitive skill that allows us to hear a regular pulse in music to which we can then
synchronize. In choral performances, individuals should attune and coordinate temporarily and reciprocally
their performance with each other for which adjust themselves and continuously adapt their timing in order
to keep synchrony against expressive temporary deviations that shows up in any performance. It is
necessary to inquire about (i) which are temporary clues that get the choir from the conductor, the
conductor of the choristers and singers with each other, (ii) where they come from (who's driven or led
them) and (iii) which appear to be most relevant (auditory, audiovisual or visual dominance) in the temporal
evolution of choral performance. The present study investigates the effect that multimodal keys and
rhythm's textural organization have in the BI while receiving a choral work. We expect to find indicators of
the way that multimodal keys, such as rhythm's multimodal interaction may affect the BI and hence
efficiency of the synchronization."

Esta palestra consiste em algumas considerações sobre o processamento do tempo num projeto metodológico de análise da música não tonal a partir do conceito de sonoridade. Neste contexto, o tempo é visto como um momento com início e fim no interior do qual as durações se manifestam em termos relativos ou estatísticos. O método se funda no princípio de dissociação entre forma morfológica e forma cinética, e, por extensão e para retomar as formalizações do compositor Helmut Lachenmann, entre estado e processo.
A obra Echo-Andante deste compositor é utilizada como exemplo para ilustrar como os dados sobre o processamento do tempo são obtidos – por meio do auxílio de um programa computacional –  e  interpretadas para produzir conhecimento sobre estrutura,  forma e estética.

A partir da segunda metade do século XX, algumas tendências musicais procuraram lidar com o fenômeno da percepção temporal de forma independente dos demais elementos formativos do som, possibilitando a vivência de novas experiências musicais na qual a sobreposição dos parâmetros sonoros se tornou um importante elemento articulador da
sensação temporal. Com a possibilidade de o compositor organizar o material composicional de forma autônoma, diversas composições apresentaram camadas sonoras construídas com defasagens, propiciando a ocorrência de politemporalidades a partir dos distintos parâmetros. Assim, entendendo que a música é capaz de organizar a sensação do tempo no ouvinte a partir dos eventos que a compõem, suscitando diversas possibilidades de articulação do tempo, esta pesquisa visa apresentar alguns processos utilizados no desdobramento do material sonoro de forma a possibilitar a vivência de diversas temporalidades sobrepostas. Para isso, serão apresentados brevemente alguns conceitos ligados às diversas definições dos
fenômenos temporais segundo as perspectivas da física, da antropologia e da filosofia. Em seguida, serão expostas as ideias de alguns compositores do século XX escolhidos pela proeminência do aspecto temporal na sua produção musical e teórico-analítica, oferecendo um panorama de algumas tendências que fizeram uso da sobreposição de parâmetros sonoros ao longo do século passado. Serão enfatizados os conceitos expostas pelo compositor Henry
Cowell (1996) sobre as possibilidades de sobreposições temporais e pelo compositor Karlheinz Stockhausen (1955) sobre o tempo experimentado a partir das organizações estruturais dos parâmetros sonoros da composição. Posteriormente, entendendo que essas
questões estão ligadas sobretudo às composições multicamadas, alguns tipos de texturas polifônicas presentes em diversas tendências musicais do século XX serão apresentados segundo a perspectiva de Robert Strizich (1991). Depois, serão realizados breves apontamentos analíticos em cinco peças instrumentais compostas para formações de câmara entre os anos de 1992 e 2015, escolhidas por exemplificarem algumas possibilidades de elaboração temporal surgidas nas últimas décadas e apresentarem algumas das problemáticas discutidas nesta pesquisa. Por fim, constata-se que este repertório apresenta complexidades que podem ampliar as pesquisas no campo das ciências cognitivas, possibilitando o acesso a novas experiências perceptivas. O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Código de Financiamento 001.

No final do século XII começa a delinear-se, na sociedade urbana ocidental, o processo de transformação da consciência do tempo que opera a transição de uma temporalidade medieval a uma temporalidade moderna. Relacionado à emergência de uma mentalidade aritmética, esse processo se insere num contexto amplo de racionalização e especulação que afeta igualmente a música. De fato, o processo de transição da música não-mensurável à música mensurável é análogo àquele que conduz do tempo medieval ao tempo moderno dos relógios mecânicos. Ele é assim revelador do movimento de ideias e de estruturas mentais de representação que leva à transformação da
temporalidade.

At the end of the XIIth century, a new process began in the western urban society, which changed the consciousness of time and turned the medieval temporality into a modern one. Related to the awakening of an arithmetic mentality, this process took place within a wide rationalization and speculation context which also affected music. In fact, the transition from non-measurable to measurable music is analogous to the transition from the medieval time to the modern time of mechanical clocks. It thus reveals the movement of ideas and of mental structures of representation, which leads to the transformation of temporality.

This chapter seeks to redefine the lyric as it is manifest in Schubert's instrumental music with particular emphasis on the string quartets. While the lyric is often pitted against the dramatic, violent outbursts in Schubert's music, this chapter argues instead that such juxtaposition of rhetorically disparate and seemingly unrelated material is in fact a defining feature of the lyric: it is an expression of the music's parataxis.

Schubert's lyric practice is traced first across the early quartets of 1813 and 1816, highlighting the purposeful nature of the works' paratactic designs, and their structural implications. The chapter culminates in an analysis of the first movement of the late A-minor Quartet, D.804, which brings to the fore the music's unique temporal perspective, and its close affinity to the lyric.

To this day music is often conceived as having an intimate relation with self-consciousness or the constitution of the self, owing to its temporal nature and apparent downplaying of materiality.  Laird Addis is a recent (though not uncontroversial) proponent of the notion that there exists an “ontological affinity” between music and consciousness.  Less examined in the contemporary intersecting circles of analytic philosophy and cognitive psychology is the philosophical pedigree of such ideas.  Although this link can be traced in some form back to ancient times, some of the most extensive and ambitious attempts at demonstrating such a connection between music and subjectivity can be gleaned from German idealist and Romantic philosophy.
  This paper examines music’s capacity through its temporal nature to model subjective self-consciousness, as outlined in the philosophy of Schelling (further touching on Hegel’s later, more famous formulation of this link and the almost contemporaneous poetic expression of these themes in Wackenroder’s Phantasien über die Kunst).  In fact, within the terms of Schelling’s early philosophy of art I construct an argument (undeveloped by Schelling) that shows music to be the closest thing to Kant’s famous transcendental unity of apperception, a means of viewing an other as the self, ostensibly bridging the ineliminable split in the self’s apperception and the ‘Holy Grail’ of Idealist philosophising.  Though there are arguably philosophical implications here that may still be useful to present day attempts at understanding the self, my emphasis is more modestly historical, in showing what structures of thought were present in the early nineteenth century that would enable music to be seen as uniquely akin to self-consciousness.  Thus it can be shown that the rise in the notion of musical subjectivity or ‘persona’ around the nineteenth century relates to a deeper metaphysical conception of both music and the self.

Abstract:

The systemic studio about the relationship between temporality and synchrony of the music players has recently started and is explained through the concept known as “entrainment” that develops a complex process of temporal interaction and current adaptation in between the players. Some studies show that synchrony is controlled by two coordinated processes of mistakes correction so called “Phase Correction and Period Correction”. Other researches point at the relevance of the visual information in order to coordinate the players in whichever situation arranged for the performance. Nevertheless the scant amount of studies about temporality concern to choir conduction has focused in the relationship between Conductor – Choir Singers.
The present paper pretends to draw up a preliminary analysis model for choir activity that contemplates the variety of synchrony relationships between Conductor – Choir Singers (audio-visual) and among the singers (audio relation) to get a wider scope in this particular scenario of interaction.

Key words: Synchrony – Musical Performance – Choir Singing – Temporality. -