ABSTRACT
This chapter provides a parallel history of time in music and landscape. Welsh musicologist Paul Griffiths structures the changing temporality of music as 'time whole, time measured 1100–1400, time sensed 1400–1630, time known 1630–1770, time embraced 1770–1815, time escaping 1815–1907, time tangled 1908–1975, and time lost 1975–'. The publication in 1969 of American landscape architect Ian McHarg's Design with Nature started a wide-reaching dialogue regarding our interaction with the world. In 1984 the American cultural geographer J. B. Jackson proposed an alternative notion of landscape, one that emphasised our human connections. The time of landscape no longer needs to be captured in ways of viewing or frozen in formal designs to express our knowing supremacy over nature. With Czech architect Sigfried Giedion's foundation of Congres Internationaux d'Architecture Moderne (CIAM) in 1928, modern ideas of landscape were born. The landscape is ground to the architectural figure, and vision again dominates the experience of landscape.
