The Oxford Handbook of Time in Music

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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 Godoy
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 1312 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
Chloe 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

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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.

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