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Bach's Cycle, Mozart's ArrowAn Essay on the Origins of Musical Modernity$
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Karol Berger

Print publication date: 2007

Print ISBN-13: 9780520250918

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520250918.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 20 October 2019

Introduction

Introduction

Chapter:
(p.1) Introduction
Source:
Bach's Cycle, Mozart's Arrow
Author(s):

Karol Berger

Publisher:
University of California Press
DOI:10.1525/california/9780520250918.003.0001

This chapter introduces the main themes and arguments of the book, claiming that, in the later eighteenth century, European art music began to take seriously the flow of time from past to future. Until then, music was simply “in time”; “earlier” and “later” mattered little to the way it was experienced and understood. From that point on, music added the experience of linear time, of time's arrow, to its essential subject matter. It could no longer be experienced with understanding unless one recognized the temporal ordering of events. The chapter also argues that this change in the shape of musical time was not a development internal to music alone, but rather, with the onset of modernity, part of a larger transformation in the way educated Europeans began to conceive of time.

Keywords:   European art music, flow of time, linear time, time's arrow, musical time

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