A compelling approach among works on temporality, phenomenology, and the ecologies of the new sound worlds, Enacting Musical Time argues that musical time is itself the site of the interaction between musical sounds and a situated, embodied listener, created by the moving bodies of participants engaged in musical activities.

Mariusz Kozak is an Assistant Professor of Music at Columbia University. His research focuses on the emergence of musical meaning in contemporary art music, the development and cognitive bases of musical experience, and the phenomenology of bodily interactions in musical behavior. In his work, he bridges experimental approaches from embodied cognition with phenomenology and music analysis, in particular using motion-capture technology to study the movements of performers and listeners. His articles have appeared in Music Theory Spectrum and Music Theory Online, among others.

• Acknowledgements


• Introduction


• Lines


• Music and Time


• Enacting Musical Time


• 1. MEANING


• Musical Objects


• Objective Time


• Lived Time


• Significance


• Affordances


• 2. AFFORDANCES


• Breathing


• Becoming Music (Behave So Strangely)


• Musical Affordances


• Situation Semantics


• Cultural Information


• Situation Semantics and Musical Affordances


• Temporal Affordances


• Musical Affordances of Breath


• 3. BODY


• Embodied Cognition


• Temporal Bodies


• Kinesthetic Knowledge


• Kinesthetic Knowledge in Music Analysis


• 4. FLESH


• The Body's "I Can"


• From "I Can" to Time


• The Flesh of Time


• Temporal Objects and the Flesh of Music


• 5. AFFECTIVITY


• Auto-Affection


• Enacting Lived Time


• Louis Andriessen's De Tijd


• Eternity in Augustine's Confessions


• Temporal and Affective Dynamics of Movement


• Enacting Chronal Anxiety


• 6. VERTICALITY


• Vertical Time


• Eternal Return


• Affect


• Hosokawa's Vertical Time


• Malleable Musical Form


• Works Cited


• Index