What can the temporal structure of auditory perception tell us about musical "timelessness"?

Abstract

"Timelessness" is an area of intense interest for many composers and authors interested in 20th- and 21st-century music, but it is not always clear exactly what the term denotes. In particular, the distinction between the induction of timelessness (the listener's subjective experience of time is altered or suspended by music) and the perception of timelessness (the listener recognizes that the music expresses altered or suspended time) has yet to be clarified. This paper argues that, while experiences of timelessness may be induced by a wide variety of musics and are not necessarily contingent on specific musical qualities, the perception of musical timelessness involves relationships between music's temporal organization and the temporal structure of auditory perception. Of particular interest are segmentation, sequence, pulse, meter, and repetition. Music whose temporal organization optimizes human information processing and embodiment expresses "human time," and music whose temporal organization subverts or exceeds human information processing and embodiment points outside of human time, to timelessness. This hypothesis is illustrated with examples from the 20th-century repertoire by Truax, Ligeti, Crumb, Reich, Tenney, Messiaen, and Grisey, music that has been associated with timelessness.