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The Oxford Handbook of Time in Music brings together philosophical, psychological, and socio-cultural understandings of time in music, highlighting the act of 'making' as both cultural construction while also referring to the perceptual, cognitive underpinnings that allow us to 'make' sense of time in music.
List of contents
- Acknowledgements
- List of contributors
- About the Companion Website
- Introduction
- Mark Doffman, Toby Young, and Emily Payne
- Section I: Framing musical time
- 1 Time in music and philosophy
- Andrew Bowie
- 2 Forms of time in nineteeth-century music: Geology, the railway, and the novel
- Lawrence Kramer
- 3 Music as time, music as timeless
- Kristina Knowles
- 4 Rhythm, time, and presence
- Anne Danielsen
- 5 Politicking musical time
- Chris Stover
- 6 To be in time: Repetition, temporality, and the musical work
- Nathan Mercieca
- 7 Distracted attention, temporal switches, and the consolations of performing
- Anthony Gritten
- Section II: Cognition, action and experience
- 8 Music, evolution, and the experience of time
- John C. Bispham
- 9 Timescales and the temporal emergence of musicking
- Juan M. Loaiza
- 10 Understanding musical instants
- Rolf Inge Godøy
- 11 Cross-modality and embodiment of tempo and timing
- Renee Timmers
- 12 The mind is a DJ: Rhythmic entrainment in beatmatching and embodied temporal processing
- Maria Witek
- 13 Non-isochronous meter in music from Mali
- Rainer Polak
- Section III: Metrics and temporal organisation
- 14 Towards a cognitively-based quantification of metrical dissonance
- Mark Gotham
- 15 Maelzel, the metronome, and the modern mechanics of musical time
- Alexander E. Bonus
- 16 Rhythm quantization: Notes on the history of a technocultural practice
- Landon Morrison
- 17 11, 12, and 13¿ bar blues: Time and African-American country blues recordings (1925-38)
- Andrew Bowsher
- 18 Metrical displacement and group interaction in 'Evidence' by the Thelonious Monk Quartet
- Ryan D. W. Bruce
- 19 The politics of musical time in the everyday life of ballet dancers
- Jonathan Still
- Section IV: Cultures of time
- 20 Temporalities of North Indian classical listening: How listeners use music to construct time
- Chloë Alaghband-Zadeh
- 21 Timing in palaran: Coordination, control, and excitement in Javanese collaborative vocal accompaniment
- Jonathan Roberts
- 22 Here at the bottom of the sky: Negotiating time through phrase, form, and tradition within a New York performance network
- Nathan C. Bakkum
- 23 Time and ensemble dynamics in indeterminacy: John Cage's Concert for Piano and Orchestra
- Emily Payne
- 24 'Making, not filling time': Time and notation in improvised musical performance
- Floris Schuiling
- 25 Musical time in a fast world
- Samuel Wilson
- 26 The radical temporality of drum and bass
- Toby Young
- Notes
- Index
About the author
Mark Doffman is Programme Director, MA Psychology of Music at the University of Sheffield.
Emily Payne is Lecturer in Music at the University of Leeds and Assistant Editor of the journal Music & Science.
Toby Young is Leverhulme Early Career Research Fellow at the Guildhall.
Summary
Music represents one of humanity's most vivid contemplations on the nature of time itself. The ways that music can modify, intensify, and even dismantle our understanding of time's passing is at the foundation of musical experience, and is common to listeners, composers, and performers alike. The Oxford Handbook of Time in Music provides a range of compelling new scholarship that examines the making of musical time, its effects and structures. Bringing together philosophical, psychological, and socio-cultural understandings of time in music, the chapters highlight the act of 'making' not just as cultural construction but also in terms of the perceptual, cognitive underpinnings that allow us to 'make' sense of time in music. Thus, the Handbook is a unique synthesis of divergent perspectives on the nature of time in music. With its focus on contemporary music (while paying attention to some of the generative temporalities of the nineteenth century), the volume establishes the richness and complexity of so much current music-making and in the process overcomes historic demarcations between art and popular musics.
