Music as Time, Music as Timeless

This chapter presents a framework for parsing differing conceptual and analytical positions on time in music, focusing specifically on two contrasting ideologies. The first perspective views music as an art form that exists only in and through the unfolding of time; the second views music as capable of evoking a static temporality, referred to by many scholars as a sense of stasis or timelessness. Discussions on the relationship between time and music typically engage with a subset of overlapping and interacting positions on time. Time is sometimes analysed as external and objective, but can also be construed as internal and subjective. Finally, time is also understood to be created or represented by music, an idea encapsulated by the term ‘musical time’. References to timelessness in music engage with these latter two views on time, specifically music’s ability to represent temporal concepts associated with specific structures (musical time) and perceptual mechanisms related to certain musical features that result in a subjective experience interpreted as timelessness. Using the dual lenses of psychology and philosophy, I argue that timelessness is an inherent part of the multiple systems of temporal production and perception that underlie the way we experience and discuss time in music.