Abstract
This study investigates methods of notation which connect people quasi-simultaneously in musical communication,seeking to relate Western music’s process for rationalization of notation to societal time consciousness.
Western music’s process for rationalization of notation has a parallel relationship through which societal time consciousness has changed from concrete time to abstract time. Western music’s rationalization of notation began with the writing of intonations in conjunction with meanings and rhythms of words in the Bibles of medieval churches, ultimately resulting in the invention of beat and “notes which have absolute time;” or “universal time.” This process reflects the fact that time in Western music notation had changed from concrete-unmeasured time to abstract-measurable time. Schutz criticized Halbwachs with regard to notation because Schutz took a different position from that of Halbwachs in the former investigated unmeasured time whereas Halbwachs investigated measurable time. These analyses show how methods of notation which have “universal time” connect people quasi-simultaneously in musical communication.
