ABSTRACT
The experience of time has become drastically different from what it was previously. As during other disturbed periods in history, there is pervasive, random violence, meaningless death, and bankrupt faith. Man has long known dread of total destruction, of course, but never its actual feasibility. It would be impossible to prove that such a profound change in our temporal experience is reflected in contemporary music. There are many difficulties that stand in the way of trying to explore these matters. First is Sigmund Freud’s attitude towards non-literary art. A musical scale describes the relationship among the tones making up the musical organization of a culture. It is a system of order among tones. In Western culture the scales are based on the physical phenomenon of overtones making up the harmonic series. In the new temporalities in music, past and future have been collapsed into a present moment which floats in uncertainty.
