‘Musical Time in a Fast World,’ in The Oxford Handbook of Time in Music

In this chapter Wilson addresses the relation between musical temporality and dominant conceptions of time under recent or ‘liquid’ modernity. He argues that the sonic arts (music, sound art, etc.) variously withdraw from and/or embrace normative time-making—thereby critically calling into question our assumptions about lived temporality. Wilson engages two examples, both intimately connected with the city of New York and the year 1983: Morton Feldman’s minimal yet durational String Quartet No. 2, and Bill Fontana’s Oscillating Steel Grids along the Brooklyn Bridge, the latter of which involved sounds from this bridge (traffic, the metal strut work, etc.) relayed live and broadcast in downtown Manhattan. Both works criss-crossed different temporalities and lived rhythms that contrasted with the speed implicit in 1980s hypercapitalism, forming dialogues between musical time and the cultures of its production.