In the early 1950s, composer, conductor and essayist Pierre Boulez embarked upon an inquiry into the notion of time in music whose outcomes are yet to be thoroughly assimilated. Some of the most important results lie in the conceptualization of mobile and smooth time, which comes up with new possibilities for the artist to unfold the compositional process beyond the craftship of time signature and dynamics on the sheet alone. His research paved also the way for a different and more accurate framework of time in music itself, as it tried to outline the structure of a musical piece which includes not only the otherwise unruly happenstances of the execution, but the living experience of the listener too.
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