A second is a second.

But it seems to be different with music. Why do we go to a concert and it feels like it would have lasted 20 Minutes, when the artists leave the stage after a 2 hour show? Why do we press the start-button of our favourite CD and -uuups- have to press it again, because the last track is finished? Why do we have to keep the clock in sight when picking up an instrument and start to play?
It seems that the art of structuring time (music) has the ability to fundamentally change our perception of time.
What do you think? What are you’re experiences? Tell us…


5 thoughts on “A second is a second.

  1. Yes I agree. It’s relativity. When our minds are engaged time flows smoothly. When we feel pleasure–it flies. Waiting or pain makes time pass very slowly 🙂

    About language: Your english is nice. No need to worry about it!

    Thanks for sharing. Have a lovely week ahead 🙂

    Love and light ❤

    Anand 🙂

    Liked by 1 person

  2. Hi Jurgen,

    Thanks for your comment yesterday. As you’re a musician, I figured you’d appreciate a writing tip that only musicians generally grasp easily. It’s most important in fiction, but it can apply to any style of writing. Put simply, it’s this:

    Listen to the music in the words you write.

    Less simple, but more accurate, would be to put it like this:

    Every musical idea you learn can be applied, somehow, to writing.

    And to reading.

    Here’s two illustrations in terms of literary style:

    John Dos Passos’ “USA” trilogy, written around 1930, has the frantic pace of jazz and ragtime, and the playfulness of vaudeville. It does this by borrowing sections of real newspaper reports, and by rapid changes of perspective from one character to another – often without letting you know who the character is. But it still insists on having a plot and narrative rules that anyone could grasp. Just as jazz (at that time) plundered musical conventions of every era, but kept returning to rhythms anyone could dance to and tunes everyone could sing along with.

    Don Dellilo’s “Underworld”, written in the 1990s, has an opening section set in the 1950s, where he does a pastiche of the style of Dos Passos, Hemingway etc in talking about a famous baseball game. Immediately after this, in the section set in the 1990s, the style becomes more spare, measured and cold, despite the plot twisting horribly. To a musician, it’s like a journey from hot jazz to cool jazz to trip-hop.

    Though my example is in novel construction, the musicality of language can be applied anywhere from sentence structure to punctuation to accent and dialect. Leonard Bernstein makes a similar point, worth looking at, here:


    Hope this is helpful.

    Liked by 1 person

    1. Thank you very much, sometimes we are so close to the source and don’t realize it 😉 I will try to transcribe my musical experience into my blogging and read what happens…best times for you


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