JAVS Spring 2024

Footnotes: 1 This is a common trait in a lot of Arabic music, which often hops from measured to unmeasured music. 2 Jonathan Kramer, The Time of Music: New Meanings, New Temporalities, New Listening Strategies (Schirmer Books, 1988), 331. 3 This is because successful anticipation of events is biologically driven and “allows us to optimize our arousal levels”; David Huron, Sweet Anticipation: Music and the Psychology of Expectation, (Cambridge: MIT Press, 2006), 176; Thus, the act of listening is distinct from the passive act of hearing in its anticipations of future events and its recalls of past events. The more actively we are listening to the music, the more pronounced phenomena become. 4 Lorraine Allan, “The Perception of Time” Perception and Psychophysics, 1979, 346. 5 Jenn Kirby, “Composing Perceivable Time,” Leonardo 48, no. 1 (2015), 7. 6 Notwithstanding, it is not always that simple, as speed is only one of several musical parameters affecting cognitive density—think of a slow, dense fugue with many voices, for example. Cognitive density may not always be the same thing as the speed of stimuli. It is known, for example, that the type and order of stimuli does matter. 7 Bob Snyder, Music and Memory: An Introduction, (Cambridge Massachusetts: The MIT Press, 2000), 11. 8 Andrew Coleman, Dictionary of Psychology (Second Edition, Oxford University Press, 2006), 668. There is also the reverse effect, in which ends and endings are privileged over other phenomena, known as the recency effect.

9 Huron, Sweet Anticipation: Music and the Psychology of Expectation, 176. 10 Ibid, p. 176. 11 Snyder, Music and Memory: An Introduction, 3. 12 This is not so much the case in places such as mm. 29-33, mm. 34-34, where, crescendos, increasing density, and acceleration in the latter example signal an upcoming arrival and heighten attention. 13 Snyder, Music and Memory: An Introduction, 24; Ibid., 208; This reinforces my previous claim about beginnings playing a sort of reset role for our attention. 14 The three-in-one concept is symbolic of the Holy Trinity. 15 This is not referential to La Monte Young’s dream chord, which is not the same as mine, I simply called it the dream chord because it sounds dreamy and spiritual to me, and then I later found out about La Monte Young’s chord. 16 Arstila Valtteri, and Dan Lloyd, “The Perception of Time in Hypnosis,” Subjective Time: The Philosophy, Psychology, and Neuroscience of Temporality (The MIT Press, 2014), 621. 17 Ibid. p. 622. 18 Ibid. p. 621. 19 This phenomenon has not been observed in western music alone, see Abu Shumays and Farraj p. 247, Shannon p. 85, and Kramer p. 207. 20 Gérard Grisey. “Tempus ex Machina: A composer’s reflections on musical time,” (Contemporary Music Review 1987), 273. 21 Elizabeth Margulis, On Repeat: How Music Plays the Mind, (New York: Oxford University Press, 2014), 9.

Journal of the American Viola Society / Vol. 40, No. 1, Spring 2024

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