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The Philosophy of RhythmAesthetics, Music, Poetics$
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Peter Cheyne, Andy Hamilton, and Max Paddison

Print publication date: 2019

Print ISBN-13: 9780199347773

Published to Oxford Scholarship Online: January 2020

DOI: 10.1093/oso/9780199347773.001.0001

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Time, Rhythm, and Subjectivity

Time, Rhythm, and Subjectivity

The Aesthetics of Duration

Chapter:
(p.272) 17 Time, Rhythm, and Subjectivity
Source:
The Philosophy of Rhythm
Author(s):

Max Paddison

Publisher:
Oxford University Press
DOI:10.1093/oso/9780199347773.003.0018

Chapter 17 argues for an experiential concept of temporality that takes Kantian subjectivity as its point of reference. Drawing on Bachelard’s phenomenology of duration, it makes a case for temporal experience as fundamentally subjective and exploratory, but historically contingent. Placing the aesthetic experience of music in this context, it argues for a large-scale notion of “rhythmicized duration” as form that affords extended scope for the aesthetic experience of temporality. Finally, the author argues that aesthetic concepts of temporality, duration, and rhythm are subject to change, development, and displacement, and as a result have functioned both normatively and metaphorically in different historical periods. It suggests that there are distinctly different aesthetic experiences of time, and that this is reflected in the fact that historical paradigms of temporal experience in music shift, which in turn serves to shape our experience of rhythm as structured duration.

Keywords:   rhythm, time, duration, Gaston Bachelard, Célestin Deliège

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