Playing in Time: Chronos, Kairos, Crossfades
In this post I want to talk about time: time in our musical relationships with others, and time in the creative process. I’ll start out with the Greek concepts of time, chronos and kairos. For musicians, chronos is metronome time; it can be objectively and quantitatively measured. Kairos, on the other hand, happens when we lose ourselves in the creative moment, and all measures of time are lost.
In this post I want to talk about time: time in our musical relationships with others, and time in the creative process. I’ll start out with the Greek concepts of time, chronos and kairos, which I learned about from the author Madeleine L’Engle.
Kairos, a term for which there is no English equivalent, is often defined in opposition to chronos. For musicians, chronos is metronome time; it can be objectively and quantitatively measured. Kairos, on the other hand, happens when we lose ourselves in the creative moment, and all measures of time are lost. It is
“That time which breaks through chronos with a shock of joy, that time we do not recognize while we are experiencing it, but only afterwards, because kairos has nothing to do with chronological time. In kairos we are completely unselfconscious, and yet paradoxically far more real than we can ever be when we’re constantly checking our watches for chronological time.”
—Madeline L’Engle, Walking on Water
These concepts have shaped my understanding of my own creative process. It’s from losing track of time while composing that I learned how much I love writing!
In the summer of 2015, I was gifted a used 25-key red Schoenhut tabletop toy piano. I got the idea to start writing little one-minute pieces and dedicating each one to a friend. Some of the dedicatees are lifelong friends and family, some are people who happened to pass through at an important moment but who I never really saw again, and some were shorter friendships. I ended up writing (and transcribing!) 55 of them, and made them into a book called The Texture of Activity. I stopped writing toy piano solos then; 55 was a good Fibonacci number, and I felt I had nothing else to say on the instrument.
6 months later, I realized I had a lot more to say! So I started my 2nd book, called Playing the Changes, which is 72 pieces. All 127 of these miniatures were written and recorded in an hour or less, and like each friendship, they are all unique.
There are so many more people I’d like to dedicate pieces to, but I wrote my very last one just a few nights ago. I knew it was time.
Sitting down at the toy piano for these pieces over the years took me through a lot of dark times and major life transitions. The toy piano is kairos for me.
As musicians, we spend our time making perfect time, playing music in time, by ourselves, with a few others, with a group of 60. We get short times with some people, and long times with others, and others crossfade in and out.
One of our most basic jobs is giving and receiving the gift of time. We do so with personal practice, rehearsals, playing concerts, attending concerts, listening to recorded music, composing music to be listened to and practiced and rehearsed and played. Success in performing and writing music largely comes from the concentrated time we put into the endeavor. And success in an ensemble requires time. When you play with a chamber group or even a large ensemble with the same players over a long time (say, 10 years or more), you get to know each other’s ins and outs quite intimately. You understand how to play with each other—who’s better at drums and who needs to stick to mallets, who can sight-read fast xylophone passages and who should stick to the bass line, who has stamina in long rehearsals and who needs frequent breaks.
Perhaps I only experience perfect time when it’s least expected: The fortunate appearance of a new person in music who is introduced to you by another music friend, who then becomes a friend and a mentor, whose presence completely changes your life, and that person makes you feel like you can do anything. In this case, it’s perfect kairos.
As composers, we can worry if we’ve bloomed at an inconvenient time. We live in a culture where composers must be young & fresh & hip (i.e. all the “under 35” calls for scores), while composers in their 50s and beyond, unless they are already quite famous, are ignored. Maybe our composer world is in cahoots with AARP, who start mailing you things on your 49th birthday.
Just as the grand arc of life has its peaks and valleys, so does music and so do relationships. I think life in music is a lot like Steve Reich’s Drumming. There’s a beginning, and there’s an end, and everything else is four long seasons of entrances and exits, buildups and breakdowns, crossfades and phases.
If we could see the grand arc of our lives, knowing exactly how much and what kind of time we have, would we do things differently now? I think it’s about finding joy in places, and bringing some happiness to other people. That’s what music is, to me.