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On Musical Continuity

In: The Study of Time IV

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  • D. Epstein

Abstract

In his paper on “The Creation of Audible Time” Lewis Rowell has developed with elegance some perspectives of musical time—perspectives of culture, of aesthetics, of structure.1 This study will examine one of these perspectives in greater detail, probing the mechanisms by which musical time is structured in aspects of Western tonal music. Its concerns come naturally to those of us who spend our days making music, for the encounter with time structure is a continual one that faces us whenever we rehearse, perform, and indeed think about music. More often than not these issues lie at the heart of musical interpretation and, thereby, of musical preparation. For it is not the wrong pitch or the misplaced rhythm that worry musicians at work; they are easily heard and corrected. It is the ambiguities of nuance, of dynamics, of tempo, rubato, motion that call for clarification and decisions.

Suggested Citation

  • D. Epstein, 1981. "On Musical Continuity," Springer Books, in: J. T. Fraser & Nathanial Lawrence & David Park (ed.), The Study of Time IV, pages 180-197, Springer.
    • Handle: RePEc:spr:sprchp:978-1-4612-5947-3_15
    DOI: 10.1007/978-1-4612-5947-3_15
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