INFINITE NOW : PHILOSOPHY OF TIME IN THE MUSIC OF CHAYA CZERNOWIN

Abstract

The article explores the concepts of time in the music of Chaya Czernowin (b. 1957), specifically how her work reflects philosophical notions of temporal dimensions within contemporary musical discourse. The aim of this study is to analyze the means by which Czernowin engages with the sensation of time. The methodology is based on a synthesis of historical and contemporary musicology, including detailed score analysis and the examination of the context surrounding the composer’s works. Theoretical methods of generalization are also employed to identify key concepts of temporal structures in Czernowin's oeuvre. The scientific novelty of the article lies in introducing the concept of «philosophy of time» into the musicological discourse as an important aspect of interpreting contemporary musical texts. The focus is on the composer’s unique approach to experimenting with temporal elements and their role in the dramaturgy of her works. The conclusions emphasize that time in Czernowin's music not only structures sound events but also opens new perspectives for experiencing music and fosters interaction between the listener and the composer.