The constitution of time in New Music: a phenomenological approach
The principle of music as a “temporal object” (“Zeitobjekt”) represents the quintessence of Edmund Husserl’s phenomenology of time and thus the idea of an “expanded” perception of the present – in relation to the past and the future. Introduced as a phenomenological category and exemplified by melody, the determination of the temporal object in New Music becomes a very important topic. Against the background of Adorno’s criticism of the “spatialized” (“verräumlichte”) and “static” representation of time in New Music, the constitution of temporality, after its emancipation from tonal harmony, comes under the spotlight.
© Musicology