Estetika 58 (1):35-56 (2021)

Eran Guter
Max Stern Yezreel Valley College
Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: ‘felt time’ and ‘clock time’. For Langer, musical time is exclusively felt time, and in this sense, music is ‘time made audible’. However, Langer also postulates a ‘strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this essay, we take issue with the ‘strong suspension thesis’, its philosophic foundation and its implications. We argue that this thesis is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding, and that it rests on a contested presupposition concerning the conceptual primacy of memory-time.
Keywords Langer  Music  Time  Tonality  Wittgenstein  temporality  Augustine  performance  composition
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Vital Rhythm and Temporal Form in Langer and Dewey.Felicia Kruse - 2007 - Journal of Speculative Philosophy 21 (1):16-26.
What is Virtuality?Richard Norton - 1972 - Journal of Aesthetics and Art Criticism 30 (4):499-505.
Rap, Minimalism, and Structures of Time in Late Twentieth-Century Culture.Susan Mcclary - 1998 - College of Fine and Performing Arts, University of Nebraska--Lincoln.
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