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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!
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.
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.
With my kairos dudes Marc Mellits, Douwe Eisenga, and Bill Susman
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.
Music is about finding joy in places, and bringing some happiness to other people.
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.
Time is different on the internet. We spend time differently in that realm, often more frenetically. While our time in the “real world” is spent in hourly chunks—an hour at lunch, eight hours at work, an evening out with friends—we enter and exit the internet in many short bursts. Our sessions may span from minutes to mere seconds, but they pile up to hours per day. Time passesby differently across the internet. Our capacity to focus while on it both widens and narrows, whether it is spending an entire evening on Netflix, or skirting across dozens of different webpages in a single hour. These differences, in how time is spent and felt in its passing, derive from our control of it. (This is the strangest of relationships we have to time and space.) Online information is easier and quicker to access. It is also easier to produce. Therefore, we don’t invest much time in any single piece of content. It becomes disposable. Ultimately, online content has little control over how much time we spend on it.
In music, this control over time is significant. Consider scrubber bars, the progress bars on digital media players that allow the user to jump to any given moment in a clip. These tools provide a kind of time-travel ability for a listener. It’s not a completely new ability; one can drop a needle anywhere on the side of an LP. Fast-forward and rewind functions are also possible on CDs and cassettes. But scrubbing on these mediums carries a level of randomness to it. On the internet, a media clip can be scrubbed through with maximum specificity and efficiency. The YouTube and Vimeo scrubber bars not only indicate how much time has elapsed in the clip, they also flash a thumbnail of whatever moment you place your cursor over. Scrubber bars on SoundCloud achieve a similar task for audio, as they embody an image of the clip’s waveform. These tools not only enable easy movement through musical time, they also quickly summarize information about the media clip, revealing to a user its contents before they are even experienced aurally.
The scrubber bar alters the agency of a listener. In turn, visuals, developmental structure, and interactivity relate differently on the internet than they do in live spaces.
Now, most music is meant to be listened to straight through. A listener isn’t required to utilize the scrubber bar. In fact, to do so can be a deadly temptation, especially in classical and contemporary concert music. Pausing, skipping, or taking a peek at the timecode, these can spoil hard-earned accumulations of musical tension and long-form development. But staying on a single webpage for more than just a few minutes, this is not natural behavior on the internet. The scrubber bar, like all the other tools built into a digital interface, is designed to eliminate wait time and get a user to a particular moment as fast as possible. Such goals are not often pertinent to a musical experience, yet they carry a significant effect on the aesthetics of listening to music online. The scrubber bar alters the agency of a listener. In turn, visuals, developmental structure, and interactivity relate differently on the internet than they do in live spaces. Before diving further into these particularities though, we must understand first how time in music is related to space, both physical and digital.
Spending time and experiencing the passing of time are both about personal expectations. They are also about choice. Liza Lim’s opera The Navigator is 90 minutes long without intermission. Is this too long? Not at all, certainly not for the concert hall. Audience members are expecting this length. They know when they buy their tickets and when they settle into their seats that they are going to be there for about an hour. Performance spaces govern the length of musical time. For example, classical music concerts are often one to three hours long. They usually begin with one, two, or three shorter works (five to twenty minutes), and then one long work (between an hour and ninety minutes). Artistically, there is no reason concert music cannot be made for much shorter or much longer lengths. However, such instances are often statements about length, a purposeful deviation from the normal. While a piece of concert music may be within or outside of the standard length of a concert, there is no denying that a standard length for music in the concert hall exists.
This principle is true for all performance spaces. Think about a dance club. The social function of that space, just like the concert hall, begets a standard length of time for the music it houses. A DJ set is usually one or two hours, but each song will never be more than a few minutes. In a dance club, the energy must be high and constant. Songs are best kept short and impactful, allowing for the flow of energy to be tightly controlled by the DJ. The way people enter and exit the dance club, this also begets a standard for how the music develops over time. Back at the concert hall, audience members enter before the beginning and are expected to remain in their seats until the end of the performance. Therefore, this space, with its captive audience, is well suited to have music that makes long-form motivic connections (such as the kind in a Beethoven symphony). In the dance club, development becomes less about motives and more about the flow of energy and mood. With people entering and exiting at different moments, motivic connections will not necessarily be perceived by a listener. However, many people come to the club for a dance experience with a dynamic flow of energy. Therefore, the DJ focuses less on musical motives in their set, and more on a visceral, physical continuity. This way in which performance spaces influence development illustrates how these standards around time are not arbitrary. The social context, that communal ritual that takes place in the hall, club, temple, mall, and coffee shop, carves acoustic peculiarities into the walls and ceiling of the space, reinforcing and encouraging music inside it to behave a certain way in time.
II: Time is Hard Won on the Internet
Compared to performance spaces in the “real world,” the internet is not a normal place for music.
Compared to performance spaces in the “real world,” the internet is not a normal place for music. The scrubber bar in digital media players gives listeners a particular control over their listening experience, making it markedly different from any live circumstance. On one hand, some music made for live performance becomes more difficult to listen to on the internet. It can feel unnatural to listen to a piece without pause, to not click away before the end. On the other hand, this new relationship between listener and music opens the door to aesthetic avenues rarely exploited in the corporeal realm. The visuals, development, and interactivity of music are three components drastically redefined online.
The visuals of a musical performance are straightforward in most circumstances. In a concert hall, we see the musicians performing when we listen to the music. In a temple, we often are faced with religious iconography during a liturgy. Digital standards for the visual elements in a piece of music are much broader. On YouTube or Vimeo, it’s plausible that you would see either of those two things. However, it’s just as plausible that the music would be accompanied by a produced music video, some album artwork, GoPro footage, or any number of other things. Online, where depth perception, peripheral vision, and audio playback are completely different from a “real world” viewing experience, performing musicians are not necessarily the most logical visual material to pair with a piece of music.
Sheet music is a popular visual for contemporary music online. Conduct a YouTube search of the composer “Brian Ferneyhough,” and you’ll see that a majority of recordings are paired with images of the score, rather than the live musicians. This makes sense. Through a camera lens, often much is lost from a visual of the live musicians. To look from one musician to another, or to notice different aspects of the stage and lighting, this ability is given away to the videographer. On the other hand, with a still image of sheet music, where the visual plane is two-dimensional, the agency to focus on different regions of the picture is returned to the listener. Today, there is a whole network of synchronized score-to-video creators on YouTube, such as the Score Follower channels, George N. Gianopoulos, Mexican Scores, gerubach, and many others.
Of course, it is still possible for live musicians to be engaging on video. After all, the ability to shift perspective and attention around a visual is not removed. Rather, it’s merely transferred from the listener to the videographer. Four/Ten Media invests great attention into the visual design of their videos. Consider their production of Argus Quartet performing Andrew Norman’s Peculiar Strokes. The cutting of the camera angles aligns with the momentum and focus of the music. The lighting and set design is sleek and playful, much like the aesthetic of the work. And, rather than having the traditional silent pause between movements, the camera cuts to headshots of the musicians verbally signaling each movement. These visuals are amplifying and elevating the music. In his film of Vicky Chow performing Andy Akiho’s Vick(i/y), Gabriel Gomez skirts the line between performance and music video. Over a performance by Chow on an upright piano in a Brooklyn apartment building, Gomez inserts footage of other locations and people. This material is not functional to performing the music. Rather, it adds metaphorical energy to Chow’s playing and Akiho’s composition. Like Four/Ten Media, Gomez is outfitting a live performance for a digital medium, only with an added layer of visual poetry. Videography can also take a less straightforward relationship with the music. In Angela Guyton’s video of Kate Ledger performing Ray Evanoff’s A Series of Postures (Piano), the close, hand-held, continuous shot from the camera provides a fluid visual counterpoint to the piece’s pointillistic, angular articulations.
In all of these examples, the visual component is outfitted to make each moment of the music is more stimulating, engaging, and full of information. With an increased level of interest in each moment, the listener might forgo any desire to operate the scrubber bar on the YouTube or Vimeo player. That surrender of control, which a listener voluntarily gives at the beginning of any performance in a concert hall, is now even surrendered in the digital space. Even an hour-long piece without break can retain viewership over the entire performance if the video is produced just right. However, this is only part of the picture. Just as there is music that is designed to erase the scrubber bar, there are internet-born aesthetics that acknowledge, even exploit, this tool’s function.
III: Control Varies on the Internet
The hard-won item that the scrubber bar gives to the listener is control of time, the ability to move to any moment of a piece at will. However, such tight control is not always a necessary asset to a piece of music. For the likes of Radigue, Czernowin, or Beethoven, control of time is important. These composers take large amounts of it in order to express unique, long-form ideas. They paint narrative, trigger tension and release, and accumulate powerful physical sensation. Development is the concept that requires control over time. But long-form development, at least in this conventional sense of the idea, is not always a primary component in a piece of music. Conceptual music, as well as music from meme culture, has become highly disseminated online. These types of music are not without development. Rather they structure musical time in a way that does not rely on the listener’s full experience of it.
Conceptual music like this takes up time, but it does not need to control much time.
Conceptual music from both a pre- and post-internet age has an immediacy to its temporal structure that sits easily in the space of a digital media player. Consider Patrick Liddell’s I Am Sitting In A Video Room. Following a similar structure to Alvin Lucier’s I Am Sitting In A Room, this piece is a sequence of the same 41-second video of Liddell, uploaded, downloaded, and re-uploaded to YouTube many, many times. Specifically, he does this 1,000 times, causing a slow incremental degradation of picture quality over time. This degradation is a type of long-form development. However, that development is present to serve the concept of the piece, not the listener’s experience of the concept. The piece is centered around the conceptual idea of quality and degradation on the internet. Such a concept is immediately clear from the start of the piece. It doesn’t matter whether the viewer watches every single moment of the 1,000 re-uploaded videos or not. The concept is expressed regardless of whether the viewer watches the whole video, skips over the middle, or never gets to the end. Conceptual music like this takes up time, but it does not need to control much time. The viewer may move around in the scrubber bar as they wish, or they may even sit and listen to every single moment of the work. Either way, the piece still effectively conveys itself, and the listener is able to receive it adequately.
This release of control is present even in pre-internet-age conceptual music. In György Ligeti’s Poème Symphonique (1962), 100 mechanical metronomes are triggered all at once. The performance ends when the last metronome ceases motion. Additionally, Erik Satie’s piano piece Vexations (1893) is a single page of piano music played 840 times very slowly. Performances of this piece range from as short as eight hours to as long as 35. Like I Am Sitting In A Video Room, these pieces don’t require the audience to listen to the piece in its entirety. It doesn’t even require them to listen at the same pace as the piece’s form. One aspect of these pieces, when performed live, is that an audience may enter and exit as they wish, like a sound installation. Now, in online settings of these pieces, the scrubber bar provides an augmented version of this enter/exit freedom an audience had in live performances. Online, the ability to skip and rewind is added to this set of listener freedoms, providing a contemporary analogue for an agency that already existed in the live performance space of sound installations.
IV: Development Through Time vs. Through Network
Music from meme culture also carries an immediacy that sits well in the online space. Like conceptual music, it does not require a tight control of time in the listener’s experience. Unlike conceptual music though, which still needs time to actualize a concept, meme music relies on social networks, rather than time, to express itself. Consider the meme, “All Star” by Smash Mouth, which is slightly different from the song that is “All Star.” The song “All Star” is a standard three-and-a-half-minute radio hit from 1999, and that is all it is. However, the meme that is “All Star” is an open-ended collection of different homemade treatments of the song by the same title. Here is a treatment of “All Star” where the song’s lyrics are replaced entirely by the single phrase from the pre-chorus “and they don’t stop coming.” Here is another where the vocal line has been pitch corrected into a four-part chorale in style of J. S. Bach. Here’s even another where a man named Jon Sudano uploads dozens of vocal covers to pop songs, where he will only sing the melody of “All Star” over the given pop song. When it comes to time and development, the duration of each of these meme-pieces is ultimately inconsequential. The expression of the meme-piece does not come from time, but from the cultural baggage accumulated via the meme’s dissemination and connection to other memes. Therefore, as long as the cultural reference is communicated, the role of time in the meme is irrelevant. What is significant about a version of “All Star” that is performed on an old cell phone has nothing to do with compositional technique, harmonic content, or performance practice. Rather, such a piece prompts a listener to recall an earlier time (early 2000s pop-rock, Shrek, dial-up tones) in an absurd and emotional way.
As more iterations of the “All Star” format are created, the internet-native humor and disjointed coherence of the viral process take over the original aesthetics of the band’s song. To invoke the song “All Star” today is to reference a meme, not a mere song. This is a form of development, of evolution, that occurs outside of the individual meme-piece. It’s a form of development defined by its networked connection to other meme-pieces of similar format. It doesn’t happen over the course of any single iteration of the meme. The development is the change between iterations, between meme creators, over the course of its viral lifespan.
Self-awareness is characteristic of meme culture that has created a sort of musical catalog of its trends and moments. Adam Emond created 225 YouTube videos of pop songs where every other beat is removed. Whereas reordering the beats of a song is usually one of many treatments that are applied to a meme-song, Emond has taken an inverse approach and applied the same treatment to many different songs. ZimoNitrome has done a catalogue-work in the piece april.meme, where 24 memes trending in April 2018 were used as material to create a single two-minute video piece.
V: Surrendering Control and Opening the Door
A recording, as it exists on YouTube, is less of a performance to sit through, and more of a landscape to explore.
There is one last posture towards time that the internet encourages music to take: interactivity. Through intentionally massive lengths of time, listeners are prompted to actively use the scrubber bar as a means of exploring at their own pace. Johannes Kreidler’s piece Audioguide is a seven-hour long, non-stop theater work that exhibits this. It’s comprised of many smaller conceptual pieces, sequenced together one after another without break. While certain moments of the seven-hour work are uploaded as excerpts, the piece also exists in its entirety as a single video. This length, which is nearly indigestible in a single sitting on the internet, inevitably prompts the listener to “search around” the piece using the scrubber bar. A recording, as it exists on YouTube, is less of a performance to sit through, and more of a landscape to explore. Through incorporating massive durations, music on the internet can take on an interactive component, where the timing of the listening experience is reliant on the viewer.
Now, achieving a sense of “landscape” via extreme length is not an internet-native aesthetic. Rather, these lengthy online pieces can also be seen as a sub-category to the sound installation. In 2001, St. Burchardi church in Halberstadt, Germany began a performance of John Cage’s ORGAN2/ASLSP for organ (a piece composed in 1987). The piece is comprised of extremely long durations, and this particular performance, live-streamed 24/7, will last until the year 2640 (639 years). In the early 2000s Lief Inge began time stretching recordings of Beethoven’s Ninth Symphony so that they were each 24 hours in length. Inge has been producing live installations of these time-stretches around the world ever since, as well as maintaining a constant live stream on his website. Like Audioguide, these pieces exist on a magnitude of duration beyond the average person’s attention span. However, in physical spaces, as well as live streams (where scrubber bars are not present), there is only an intention for the listener to experience a single portion of the piece. The composer still controls time as it runs through the music. The key difference between these live performances/streams and video pieces like Audioguide (as well as these next examples) is that the scrubber bar allows for the piece to be digested in a way that is more cursory, exploratory, and non-linear. Time and form there is determined by the listener rather than the composer.
Stretch videos, in the likes of Inge’s, have become an entire category of this interactivity in themselves. Hundreds of these videos exist online, time stretching the music of Brian Eno, Radiohead, Beethoven, John Williams, even computer sound effects such as the Windows startup sound. Unlike a live stream, these take the form of multi-hour videos in which a listener may move from moment to moment at their preferred pace. Though music will always be moving transiently through time, these stretch videos are the closest thing there is to exploring a piece as a static object, something to touch, observe, and walk through.
These super-long pieces of music have a second posture towards control of time: if a listener is not scrubbing through the piece, it is most likely that they are playing it as background music while they study, read, or sleep. This more passive form of interactivity imports easily into the internet space, where performing music (i.e. vibrating speaker cones) requires a near-to-nothing expense of energy. Currently on Spotify, Sleep by Max Richter is a piece designed around this very idea. The eight-hour-long ensemble piece is meant to play while a listener sleeps. Additionally, Jack Stratton of the band Vulfpeck released Sleepify in 2014, a ten-track album comprised of silence. A pun of the streaming platform Spotify, the album is meant to be played on repeat during sleep so that streaming royalties can be farmed while people’s devices are not in use. “Sleep music” like this actually has a rich history, one full of live spaces, not just online. R.I.P. Hayman was presenting sleep concerts as early as 1977, and many more artists have come since then. So while the concept of sleep music is not native to the internet, the low amount of mechanical work needed for sound to be digitally produced illustrates how sleep music fits easily into the internet space.
All in all, we’ve looked at three different postures towards the control of time on the internet. Through examining visuals, we have seen how control of time can be aggressively won over from the listener. When development becomes centered around concept and cultural reference more than around time, control of time becomes less relevant to the piece. And finally, in creating massive, interactive terrains of sound through extremely long pieces, control is given over to the listener. In surveying these aesthetics, it is also clear that music on the internet carries an extremely broad spectrum in how much effort and resources are needed to create it. The Four/Ten Media video of Argus Quartet was likely the fruit of a team of artists, editors, and technicians, as well as several thousand dollars. That piece rests on the same viewing platform as the time-stretched video of Beethoven’s Ninth Symphony, a piece that requires only a laptop, free software, and an internet connection to create. The internet is a strange place for time. It is in this strangeness that a door is opened up to the parameter of resources.
At the beginning of this piece, the scrubber bar was presented as an anomaly to the musical experience. Like nearly all online tools, it functions to increase efficiency and deliver information faster, two imperatives that seem unrelated to the priorities of experiencing music. But beneath the goal to maximize efficiency is a deeper one to democratize resources and equalize different voices in a conversation. It is an ethic and virtue of the internet, open source and public domain. If this is true, then listening to music on the internet is not an anomaly at all. The concert hall, a dance club, and a religious temple all have social and physical peculiarities that carve and mold music to fit easily into the space’s original design. The internet is no exception to this fact. Its virtues for democratization, and its digital peculiarities such as the scrubber bar, shape and mold music. It touches music’s visuals, developmental structures, and interactivity in a way that ultimately makes composing possible for more people. More and more, the internet is being considered as a primary space for music performance and dissemination. While the initial effects of this trend are aesthetic, shaping the way time is controlled and utilized by the artist, music on the internet inevitably influences every aspect of creating music. For many, this makes the internet a strange place for music. But given just how pervasive the digital space is becoming each day, such a place may not remain strange much longer at all.
I can’t remember exactly when I first became interested in musical drones, but I think it was around the time I discovered Charlemagne Palestine. I remember being terribly excited about his piano music, with its patient accumulations of plangent tremolo chords. I remember, too, that a lot of people I tried to share this music with seemed completely bewildered by my interest in it. Perhaps because it was so unlike the music I was writing at the time, or perhaps because there didn’t seem to be much apparent craft to his music—it was so simple, so obvious.
I don’t know what to call this kind of music, this music that lives on a different time scale than we’re used to. Pianist R. Andrew Lee has written eloquently about the boredom of minimalism, but not all music termed minimalist has this quality. And there’s plenty of non-minimalist music (e.g. Morton Feldman) that has this quality. It’s not really ambient music, which implies a background role. Instead, this music sticks in your brain in a way that is insistent, even obnoxious at times.
But there’s a therapeutic aspect to it, too. I recently made a pilgrimage to La Monte Young’s Dream House, a white room bathed in purple light where you’re bombarded with sound from four corners. What surprised me was how simultaneously soothing and agitating it was, in a completely non-contradictory way. My visit also happened at the end of a long, stressful day, so I may have been in an especially appropriate state to appreciate it.
The trouble comes when I try to integrate or incorporate this music into my usual modes of listening or composing. It seems to exist completely outside this realm, and the tenuous bridges I try to build between the two seem to collapse under the slightest weight. This is the struggle I faced when I tried to share this music as well, as those with both feet firmly in conventional musical time had no way to approach it. I don’t even think it’s a problem of education or awareness, since I can’t say what led me to this music in the first place. It was like a switch—one day I didn’t get it, the next I couldn’t get enough of it. Is it purely aesthetic preference? Is it neurological? I don’t know.
The amount of time I spent in Turkey thus far in my life has been negligible; just a couple of hours waiting for connecting flights to Athens and then back to New York City, though at least it was enough time for me to buy a 9 CD set of Turkish pop at the Duty Free shop. But I hope I can return there soon and have a deeper experience of it.
I’ve been back in New York City for almost a week now, and for once I seem to have mostly dodged jetlag. Perhaps traveling through different zones on a regular basis makes it easier to adjust to different clocks. Over the last year I’ve travelled quite a lot, even by my standards: I’ve been in 32 different places in 12 countries on 4 continents. In order to get to most of these places, I’ve had to spend more than 140 hours—which is nearly six entire days—in flight. And while those 140+ hours were still technically in a time zone somewhere, psychologically they feel outside the grid.
I’ve often thought about time spent on flights as the most “free.” This might seem completely crazy since being on an airplane is so physically restrictive, but it is the only time that I am completely unreachable via email, phone calls, text messages, tweets, Skype, Facebook, etc. and so is everyone else around me. (I’m also presumably unreachable during concerts, but unfortunately folks who’ve forgotten to turn off their phones aren’t.) It is a real luxury to have a huge chunk of undisturbed time, and over the years I’ve taken advantage of this interlude to read large books that I otherwise would never get around to.
Back in January, during a flight from Paris to New York, I attempted to read Mathias Énard’s Zone, a 500 page novel published in 2009 which consists of only one sentence and therefore begs to be read in a single sitting. I’ve previously written here about merely getting one quarter of the way through before sleep got the better of me. But I’ve remained fascinated by this book because it aspires to the same condition as listening to music; it requires whoever experiences it to submit to someone else’s clock. (I once heard that Edgar Allan Poe eschewed novels in favor of short stories because short stories tend to be read in a single sitting and he wanted to have control over the reader’s time.) Or course nowadays, even music is rarely experienced without interruption; most people engage in other activities as they listen, and the music that they listen to is primarily on recordings which enable the ability to start and stop and skip at will. Curiously, how most people experience music is very similar to the way most people read books.
Anyway, since returning from France, I couldn’t figure out a way to carve out the requisite time for Zone. I tend to read about 30 pages per hour which means that a standard novel of 300 pages takes me about 10 hours. I was able to read the quarter of Zone that I completed somewhat faster than that, but I figured that I would still need at least 10 uninterrupted hours of reading time. I had the perfect opportunity flying round trip from Hong Kong two months ago (each way is a little over 16 hours), but instead I devoted it to reading—though not in its entirety—David Foster Wallace’s 1000+ page Infinite Jest, which I managed to finally finish shortly before heading to Greece. Being able to get through Wallace’s gargantuan multilayered narrative nevertheless encouraged me to once again attempt to tackle what is perhaps the most impossible reading assignment I have ever given myself. So I brought Zone to Greece.
Since I was doing a red eye from JFK to Istanbul to connect with my flight to Athens, reading Zone on the way there seemed doomed to failure. I didn’t even try. Instead I watched several movies and read a substantial portion of Jason Weiss’s fascinating Always in Trouble: An Oral History of ESP-Disc’, The Most Outrageous Record Label in America, which is my idea of light reading. I planned to save Zone for the return flight from Istanbul to New York, which was during daytime hours. I figured I needed to start at the beginning again, in order to fully experience the flow, so I did. This time, however, I only managed to get about 50 pages in; despite the uninterrupted time, there were just too many other distractions: flight announcements, meals, the person directly in front of me leaning back his chair to the point that I was barely able to hold the book in my hands, etc.
I’ve concluded that it actually might be impossible for me to read this book the way I had originally intended to. But it has also made me extremely grateful that it is so much easier to listen to most music uninterrupted.
Frank J. Oteri
Frank J. Oteri is an ASCAP-award winning composer and music journalist. Among his compositions are Already Yesterday or Still Tomorrow for orchestra, the "performance oratorio" MACHUNAS, the 1/4-tone sax quartet Fair and Balanced?, and the 1/6-tone rock band suite Imagined Overtures. His compositions are represented by Black Tea Music. Oteri is the Vice President of the International Society for Contemporary Music (ISCM) and is Composer Advocate at New Music USA where he has been the Editor of its web magazine, NewMusicBox.org, since its founding in 1999.
Jul 2, 2012
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