Time in Music and Culture
Series:
Ludwik Bielawski
From Aristotle to Heidegger, philosophers distinguished two orders of time, before, after and past, present, future, presenting them in a wide range of interpretations. It was only around the turn of the 1970s that two theories of time which deliberately went beyond that tradition, enhancing our notional apparatus, were produced independently of one another. The nature philosopher Julius T. Fraser, founder of the interdisciplinary International Society for the Study of Time, distinguished temporal levels in the evolution of the Cosmos and the structure of the human mind: atemporality, prototemporality, eotemporality, biotemporality and nootemporality. The author of the book distinguishes two ‘dimensions’ in time: the dimension of the sequence of time (syntagmatic) and the dimension of the sizes of duration or frequency (systemic). On the systemic scale, the author distinguishes, in human ways of existing and acting, a visual zone, zone of the psychological present, zone of works and performances, zone of the natural and cultural environment, zone of individual and social life and zone of history, myth and tradition. In this book, the author provides a synthesis of these theories.
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- Berlin, Bern, Bruxelles, New York, Oxford, Warszawa, Wien, 2020. 406 pp., 36 fig. col., 85 fig. b/w.
- Cover
- Title Page
- Copyright Page
- About the author
- About the book
- Citability of the eBook
- Contents
- Prologue
- 1 Introductory questions
- 1.1 The anthropological perspective and two hierarchies of time
- 1.2 Time in Ajdukiewicz’s definition and in the zonal approach
- 1.3 Zones of time: from theory to history
- 1.4 Time and space. The ideal world and the material world
- 2 The zonality of time
- 2.1 The processual and qualitative aspects of time, the logarithmic law
- 2.2 A uniform musical scale of pitch, tempo and time
- 2.3 Natural zones of time in music
- 2.4 Movement in music and the role of impulses of sudden change
- 2.5 The question of racial and cultural factors conditioning musical time
- 3 The zone of note pitches
- 3.1 The zone of hearing and the zone of musical sounds
- 3.2 The zone of human voices
- 3.3 Note pitches in music and in language
- 3.4 The zone of musical sound
- 3.5 Perceived roughness
- 4 The zone of the psychological present
- 4.1 Upper regions, ‘short times’, units of movement, syllables and phonemes
- 4.2 Central regions, ‘long times’, basic metrical units
- 4.3 Lower regions, measures and phrases
- 4.4 Indian rhythm theory
- 4.5 Music and language as sound systems
- 4.6 Music as the transformation of human movement
- 5 The zone of works and performances
- 5.1 The range of the zone and a synthetic table
- 5.2 The zone of microworks
- 5.3 The central regions of the zone of works
- 5.4 The zone of medium and long works
- 5.5 The multiple levels of time and the segmentation of melody
- 6 The zone of ecological time
- 6.1 The cycles of ecological time
- 6.2 The temporal environment of Black Africa
- 6.3 Sacred time and secular time
- 6.4 The temporal environment of the Middle Ages
- 6.5 The temporal environment and music
- 7 The zone of individual and social life
- 7.1 The zone of the time of human ontological development
- 7.2 The temporality of the existential level in psychology
- 7.3 The psychology of musical development
- 7.4 The course of life and phases in creative work
- 7.5 Age groups as a measure of time
- 7.6 The period of human life and musical folklore
- 7.7 ‘Structural time’ and tradition
- 7.8 Shallow history, the example of Finnish folk music
- 7.9 On happiness in life
- 8 The zone of historical time and worldview
- 8.1 The tempo of historical changes and the logarithmic scale
- 8.2 The zonal character of historical time
- 8.3 The ‘circling of times’
- 8.4 Historical time in the Christian Middle Ages
- 8.5 The Darwinian revolution in the understanding of history
- 9 Time and space
- 9.1 Le Corbusier’s modulor and music
- 9.2 The modulor and the twelve-degree scale
- 9.3 The sense of the discretisation of space in the modulor
- 9.4 Neutral human size
- 9.5 Humans in the scale of time and space
- 9.6 Time and space and the difficulties with classifying the arts
- 9.7 Spatial aspects in music
- 10 Levels of time and levels of existence
- 10.1 Levels of knowledge
- 10.2 Anthropology of art
- 10.3 Ethnochoreology
- 10.3.1 Text
- 10.3.2 Process
- 10.3.3 Context
- 10.4 An example of a musical form, an instrument and a work of art
- 10.4.1 The atemporal, nominal level
- 10.4.2 The prototemporal, ordinal level
- 10.4.3 The eotemporal, intervallic level
- 10.4.4 The biotemporal level; the present, past and future
- 10.4.5 The level of artistic events, participation
- 10.4.6 The level of the natural and cultural environments
- 10.4.7 The level of individual and communal life
- 10.4.8 The level of our vision of the world, time beyond time
- Epilogue
- List of examples
- Bibliography
- Index
9 Time and space
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Extract
9.1 Le Corbusier’s modulor and music
Like time, human space is dependent on perception. It is subject to the general tendencies characteristic of our species and of life on Earth in general. Perhaps nothing has been measured so precisely as the spatiality of various phenomena. Yet it has been done in a manner that we normally encounter in science, using the most objective methods possible, independent of humans. In the human space, as it reveals itself to us and as it conditions our existence within it, the human factor is indispensable. If we as humanists are interested in space, it is mainly as the space of people and their environment. So most important for us is the human perspective of space in the broadest sense of the word.
As already mentioned, space has been studied using the most objective methods possible and a scale as independent of people as possible. That has usually been a normal arithmetic scale. In relation to human space, however, its use is limited and often no more than a starting point, an initial tool for recording the facts, the interpretation of which requires transferral to another scale, the scale of human perception. Everything suggests that the foundation for such a scale, in space as in time, may be a logarithmic scale. The most important role on the human scale is played not so much by isolated sizes as by the proportions or ratios occurring between them, and those proportions,...
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Or login to access all content.- Cover
- Title Page
- Copyright Page
- About the author
- About the book
- Citability of the eBook
- Contents
- Prologue
- 1 Introductory questions
- 1.1 The anthropological perspective and two hierarchies of time
- 1.2 Time in Ajdukiewicz’s definition and in the zonal approach
- 1.3 Zones of time: from theory to history
- 1.4 Time and space. The ideal world and the material world
- 2 The zonality of time
- 2.1 The processual and qualitative aspects of time, the logarithmic law
- 2.2 A uniform musical scale of pitch, tempo and time
- 2.3 Natural zones of time in music
- 2.4 Movement in music and the role of impulses of sudden change
- 2.5 The question of racial and cultural factors conditioning musical time
- 3 The zone of note pitches
- 3.1 The zone of hearing and the zone of musical sounds
- 3.2 The zone of human voices
- 3.3 Note pitches in music and in language
- 3.4 The zone of musical sound
- 3.5 Perceived roughness
- 4 The zone of the psychological present
- 4.1 Upper regions, ‘short times’, units of movement, syllables and phonemes
- 4.2 Central regions, ‘long times’, basic metrical units
- 4.3 Lower regions, measures and phrases
- 4.4 Indian rhythm theory
- 4.5 Music and language as sound systems
- 4.6 Music as the transformation of human movement
- 5 The zone of works and performances
- 5.1 The range of the zone and a synthetic table
- 5.2 The zone of microworks
- 5.3 The central regions of the zone of works
- 5.4 The zone of medium and long works
- 5.5 The multiple levels of time and the segmentation of melody
- 6 The zone of ecological time
- 6.1 The cycles of ecological time
- 6.2 The temporal environment of Black Africa
- 6.3 Sacred time and secular time
- 6.4 The temporal environment of the Middle Ages
- 6.5 The temporal environment and music
- 7 The zone of individual and social life
- 7.1 The zone of the time of human ontological development
- 7.2 The temporality of the existential level in psychology
- 7.3 The psychology of musical development
- 7.4 The course of life and phases in creative work
- 7.5 Age groups as a measure of time
- 7.6 The period of human life and musical folklore
- 7.7 ‘Structural time’ and tradition
- 7.8 Shallow history, the example of Finnish folk music
- 7.9 On happiness in life
- 8 The zone of historical time and worldview
- 8.1 The tempo of historical changes and the logarithmic scale
- 8.2 The zonal character of historical time
- 8.3 The ‘circling of times’
- 8.4 Historical time in the Christian Middle Ages
- 8.5 The Darwinian revolution in the understanding of history
- 9 Time and space
- 9.1 Le Corbusier’s modulor and music
- 9.2 The modulor and the twelve-degree scale
- 9.3 The sense of the discretisation of space in the modulor
- 9.4 Neutral human size
- 9.5 Humans in the scale of time and space
- 9.6 Time and space and the difficulties with classifying the arts
- 9.7 Spatial aspects in music
- 10 Levels of time and levels of existence
- 10.1 Levels of knowledge
- 10.2 Anthropology of art
- 10.3 Ethnochoreology
- 10.3.1 Text
- 10.3.2 Process
- 10.3.3 Context
- 10.4 An example of a musical form, an instrument and a work of art
- 10.4.1 The atemporal, nominal level
- 10.4.2 The prototemporal, ordinal level
- 10.4.3 The eotemporal, intervallic level
- 10.4.4 The biotemporal level; the present, past and future
- 10.4.5 The level of artistic events, participation
- 10.4.6 The level of the natural and cultural environments
- 10.4.7 The level of individual and communal life
- 10.4.8 The level of our vision of the world, time beyond time
- Epilogue
- List of examples
- Bibliography
- Index