Time Music Listen
In a composition, the time is not as absolute and "objective" of real life events in sequence one after another is a time to create art that is altered and distorted. The absolute time is the physical space occupied by the execution of a piece, the musical is presented or mentioned. These different plans exist simultaneously and the distinction between the two will cancel more we are immersed and focused listening. In addition, each event takes over a composition to another as an introduction or implication, according to a report of cause and effect, for which music is conceived both as a succession of the past into the future as a whole is organized by segments. Here echoes the ancient philosophical distinction between being and becoming, that is expressed linguistically in the opposition between synchronic and diachronic. This fact reveals that there are two bipolar complementary strengths in music that structure over time, and then in the same composition one can speak of linearity or nonlinearity, which is a sequence of musical events concatenated according to a logical structure, or sequence that does not respond to this dynamic. The linearity
music finds its greatest expression in the tonal system, which does not evolve randomly, but that comes from the path of Western music over time. Listening to the tonal music has become easier for Westerners because these forms correspond to processes that are part of Western society. It is not a universal factor, but behavior is learned that listening and anthropology and to which is established habit among the people of Western Unlike in the East in cultures different from ours.
During the twentieth century, the music becomes gradually less tonal and less linear in this process has the following causes:
1) A change in cultural and social climate, mainly due to the invasion of an intermittent communication: television and radio transport us from one program to another within a short time, including commercials, games, songs, and news; also the artist in his composition reflects this situation;
2) The increase of ' influence of Oriental music: it is reflected to the 800 already in the music of Debussy, who discovered in 1889 at the Universal Exhibition in Paris Javanese music, and in that of Stravinsky, full of suggestions coming from the Russian people. Similarly, in America at the beginning of the first experiments were made 900 music non-linear
3) The impact of recording techniques: they have made it possible to listen to all music, even back in time. In addition, listening is no longer only in the concert hall alone but can be done anywhere, to suit your taste and needs. Composers began to be interested mainly in the experiments of discontinuity that the installation could make it possible, even after adjusting pieces totally different in a number of occasions, it was possible to assemble and reformulate all in an original way;
4) The manner in which the art reflected more the inner man: ordered the rhythm of everyday life are inevitably confronted with the irrationality of thought and memory of each, where the experiences are arranged in temporal sequence is not always linear. The outdoor living is therefore more linear, while the interior is far more non-linear, and the conflict between these two was well known before the twentieth century, but over time the art has gradually shifted to a more intimate, which is found in its manifestations.
addition to linearity and non-linearity exists a particular form of representing the time in a musical composition: the "time moment", here the piece but not actually start "part", giving us the first idea that has already begun as to whether If we had tuned where it was transmitted. Similarly, there is no end but a checkpoint, and sections, or moments, are weakly related and are self-sufficient. Examples of these compositions date back to the '60s, and in them the author indicates that the parties can be arranged in any order you want, with varying results from an execution to another. These types of compositions
dethroned the music straight from its predominant position, or at least questioning and allow the listener to find a tempo different from that to which they are accustomed and more subjective.
Beatrice Eleanor
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