Contents

pp v-vi

List of Figures

pp vii-viii

Contributors

pp ix-xii

Introduction

pp 1-8

Part I - Experiences

pp 9-10

1 - Music Listening and the Perception of Time: The LEMI Model

pp 11-28

2 - The Remembrance of Things to Be: An Approach to Memory, Repetition, and Cyclical Structures

pp 29-41

3 - An Overview of the Psychology of Time Perception

pp 42-54

4 - The Perceptual Present and the Philosophical Puzzle of Musical Experience

pp 55-70

Part II - Enactments

pp 71-72

5 - Ensemble Timing in String Quartets

pp 73-96

6 - Midway Ambiguities: Disorientation and Interpretation in Long-Duration Music

pp 97-111

7 - Live Coding as a Theatre of Agency and a Factory of Time

pp 112-126

Part III - Meanings

pp 127-128

8 - Comparing Temporal Fictions in Tonality and Triadic Post-Tonality: Chopin’s Fourth Ballade as a Link Between the Ages

pp 129-146

9 - ‘Nothing Really Changes’: Material Processes in and as Time in hearmleoþ—gieddunga

pp 147-161

10 - Music, Time, and Society

pp 162-176

Conclusion: Multiplicity, Fluidity, Fragility

pp 177-180

Bibliography

pp 181-196

Index

pp 197-206