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The implicit effect on the classical music industry was disastrous. This, in turn, influenced the way music of longer duration was heard.
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4 In fact, this average duration persists in popular music as the modus operandi today.
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This technological constraint set a standard that dictated the duration of popular music long after that constraint was surpassed. Thomas Edison’s cylinder recordings-heard below-held about four minutes of music. The advent of audio recording not only changed the way music was disseminated, it changed time perception for generations. While music usurps our sensation of time, technology can play a role in altering music’s power to hijack our perception. It is not so much the distraction, but the substitution of the frenzied tempo of the music that challenges drivers’ normal sense of speed-and the objective cue of the speedometer-and causes them to speed. Perhaps the clearest evidence of musical hijacking is this: In 2004, the Royal Automobile Club Foundation for Motoring deemed Wagner’s Ride of the Valkyrie the most dangerous music to listen to while driving. 3 Novel music is perceived as more pleasurable, making the time seem to pass quicker, and so shoppers stay in the stores longer than they may imagine. Shoppers perceive longer shopping times when they are familiar with the background music in the store, but actually spend more time shopping when the music is novel. 1 Similarly, consumers spend 38 percent more time in the grocery store when the background music is slow. For instance, more drinks are sold in bars when with slow-tempo music, which seems to make the bar a more enjoyable environment, one in which patrons want to linger-and order another round. In recent years, numerous studies have shown how music hijacks our relationship with everyday time. Rather, music embodies (or, rather, is embodied within) a separate, quasi-independent concept of time, able to distort or negate “clock-time.” This other time creates a parallel temporal world in which we are prone to lose ourselves, or at least to lose all semblance of objective time. Music creates discrete temporal units but ones that do not typically align with the discrete temporal units in which we measure time. It has long been held that, just as objective time is dictated by clocks, subjective time (barring external influences) aligns to physiological metronomes. We conceive of time as a continuum, but we perceive it in discretized units-or, rather, as discretized units. “Into a section of mortal time music pours itself, thereby inexpressibly enhancing and ennobling what it fills.” “For the time element in music is single,” wrote Thomas Mann in his novel, The Magic Mountain. But music also demonstrates that time perception is inherently subjective-and an integral part of our lives. It allows us to find our place in, and navigate, our physical world. Our ability to encode and decode sequential information, to integrate and segregate simultaneous signals, is fundamental to human survival. The human brain, we have learned, adjusts and recalibrates temporal perception. Nearly two centuries ago, the composer anticipated the neurological underpinnings of time perception that science has underscored in the past few decades. Although I’ve learned to manipulate subjective time, I still stand in awe of Schubert’s unparalleled power. It has been my goal ever since to compose music that usurps the perceived flow of time and commandeers the sense of how time passes. It was a life-changing moment, or, as it felt at the time, a life-changing eon. The sensation was powerful, visceral, overwhelming.
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During the second movement I had the unnerving feeling that time was literally grinding to a halt. I was at a performance of Schubert’s String Quintet in C major. One evening, some 40 years ago, I got lost in time.
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