The Oxford Handbook of Time in Music

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.

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.

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 13½ 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