ABSTRACT
This chapter explores the sedentary understanding of speed as passing of a number of segments of space in a unit of time would be hard to reconcile with both nomadic qualities of space and nomadic perceptions of time. It considers the nomadic features of harmonic progressions in music of Frederic Chopin. The straight segmented line is furnished with a temporal aspect, after all, music is a temporal art. This aspect, however, is measured and counted in the same fashion, as a number of segments per unit of time. Initially, we might speculate that the ideas of line, surface, and speed came out of a genuine musical intuition. When compared with the sedentary, the geometry of nomadic melody proves to play a constitutive role. The onomatopoeic features of the melody accompany the idea that the voice of young man sounds like silver and gold. Bashkirs, like many other groups of the same nomadic tradition, revere the surface of the steppes.
