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Longer periods away from home - just over two weeks in Japan and Korea in this case - always make me think about time and our experience of it. On the larger scale, one experiences the elasticity of time complicated by homesickness, jet-lag, work schedule and the personal, emotional shape of absence (the last couple of days always fly by as far as I am concerned). On the smaller scale, trips away are almost the only periods in which I experience regular, abstract exercise, usually swimming. If I swim 20 minutes a day for a week or more, the weirdness of time very quickly becomes apparent: the subjectivity of the time I experience, weaving in and out of my thoughts, is totally at odds with the stop-clock ahead of me, ticking away the seconds, and the ordinary clock to my left or right, converting time elapsed into portions of a circle, slices of a pie.

This is, it might seem, pretty banal stuff. The subjectivity of our experience of time is widely acknowledged. As we get older, time seems to go faster - or is it that we seem to move faster in time? The spatial metaphors we use are confused and confusing. The theories to explain this change range from the physiological (the body cools as we age) to the arithmetical (each moment is a smaller proportion of a lengthening lifespan).

If time is so mutable, so much a matter of the ebb and flow of consciousness, is it in fact illusory? The commonsense view has long been that of classical science. Isaac Newton contrasted "absolute, true, and mathematical time" which "in and of itself and of its own nature, without reference to anything external, flows uniformly and by another name is called duration" with what he called "relative, apparent and common time". This is the view he bequeathed to the industrial age, the world of clocks, measurement and effective time management, but one which was exploded in its metaphysical aspects by Einstein's musings on relative motion and the speed of light, by the space-time continuum, and the uncertainties of quantum mechanics.

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Mr. Wonderful
January 3rd, 2009
8:01 PM
I'm not sure what the thesis is here--that we want music to be a bridge to the transcendent? And that it either is, or isn't? If so, then everything depends on what we mean by "the transcendent." We want an experience "beyond" (there's your spatial metaphor) our self, but can anything be experienced without at least a tiny speck of self-awareness? Complete transcendence, in this sense, may be impossible, or symptomatic of insanity. I don't think you can experience the sublime, or the beautiful, or the exalted, without knowing (and knowing that you know, etc.) that you're doing so. Having said that, I would agree that music can get us that far--however much farther we long to go.

Anonymous
January 3rd, 2009
8:01 PM
I too am outraged by the hostile, angry, nasty (and stupid) comments by Castrell.

Anonymous
January 3rd, 2009
6:01 PM
I found L. E. Cantrell's comment to be a bitchy personal attack devoid of ideas and not worthy of this forum, which is intended for open discussion, not slamming the door on it.

Roger Evans, New York
January 3rd, 2009
5:01 PM
Mr or Ms Cantrell: Have you considered the possibility that the problem is with the receiver, not the transmitter?

Bjorn Merker
January 3rd, 2009
4:01 PM
It is hardly as a "pitch-time continuum" that music attains to the pattern richness by which it fascinates us. Rather, it typically throws away most of the continua of pitch and time to retain only a skeleton of discrete pitches - the musical notes by which it builds melodies - and discrete durations with proportinal values that are the grist of its rhythm mill. For more on this search Google for "Music: the missing Humboldt system".

Pat Carroll
January 3rd, 2009
1:01 PM
What if we look for an escape from language to ourselves, a glimpse of something not transcendental but inhering? Suppose music lets us grasp the here, now? Subjectivity need not be messy.

Paul
January 3rd, 2009
1:01 PM
Indeed, music touches parts of the human psyche with a speed and force seemingly incapable by other means. That, to me, is the transcedence in it: the almost divine aspect, if you will. When I hear certain guitar melodies for instance(which, from my experience, are primarily rock and jazz based), they can repeatedly generate emotion to the point of tears ~ and that almost immediately. Call me a "romantic," but there's something magical ~ metaphysical ~ in those plucked strings.

L. E. Cantrell
January 3rd, 2009
11:01 AM
We have long-since recognized that Ian Bostridge is a singer with very little to say, now we see that he is a philosopher with even less to say.

John Borstlap
January 3rd, 2009
11:01 AM
But (the best) music IS transcendental: why not trust our real experience? Music is 'the language of emotional experience' and all those stirrings relating to 'the spirit', 'the cosmos' etc., are irrational but yet no less real. They are built-in into our being and (the best) music expresses them, confirms them, reflects them, and the source outside ourselves from whence the musical impulse comes. Thus (the best) music is aspirational and stimulating in the broadest and deepest sense. This is the same in any culture, just realised in different forms. It is part of being human to be able to experience these fluid things, and it is a rationalistic (western) restriction to see these notions as 'just' human i.e. subjective projections and man-made simulacrae. As our physical senses connect us with outer reality, it is plausible to assume that there may be inner, psychological senses that connect us with a transcendental realm. The experience of great music can include both the subjectively human and the objectively spiritual - no need to be 'religious' to get the 'kick'.

Dorothy Spafard Hull
January 3rd, 2009
6:01 AM
This concept of music is very meaningful to me. As a musician who listens a lot as well as playing music, I find that I sometimes seem to transcend space-time and our ordinary life when I hear or play certain pieces of music - especially those of Beethoven.

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