Perception of time and suspension of finality (studying math)

What experiences well known to me involve an altered perception of time?

One of them is improving a piece of my own prose. After laboring to bring ideas into being as words and then to cantilever those words themselves until everything balances like a Calder mobile, I may raise my head – feeling that a very long time has passed – to find that not even an hour has gone by on the clock. There follows the relief of realizing that less time has elapsed in the material world than in my experience of it — relief since so often it is the other way around, and when it is the other way around I feel a little cheated and frustrated.

Another case is the enlivening of words by music. Sometimes the result is what known as “opera time”, in which the events of a musical drama are out of step with the tempo of the same events in real life. I mentioned this effect in passing in recent posts about Donna Elvira and the cantus firmus in some of the Bach choruses. Because altered perception of narrative time is related to the visceral appreciation of music, I think of this effect as having something in common with kinesthesia, the subjective sensation of body movement and position, an idea and feeling of keen interest to me in my daily life and study habits. Of course, not all music produces this effect to the same extent and I know different listeners react differently, too.


Since taking the first steps toward making my peace with mathematics almost two years ago, I have struggled with a third form of altered time-perception: a special feeling that comes about in trying to read and understand a mathematical idea, to fully follow or compose a proof, to formulate and solve a problem. There has been nothing in my life up to now as a humanist — linguistic fieldworker and student of the Chinese script and medieval prosody — that has prepared me for this experience. Part of the sensation is that my mind is being forced into a lower gear-ratio: suddenly, my engine has to make many more revolutions to get the wheels to turn just once.

The low-gear feeling reminds me of a half-hour spent some years ago in a tiny café in Longyan 龍巖, a small Chinese city where a market for coffee developed around 2004. In order to serve my companion and me two cups of coffee, perhaps 8 ounces in all, the café owner ground beans in a hand-operated burr mill for ten minutes, cranking rapidly the whole time. Long before he was done I felt embarrassed at the exertion he had taken on himself to make a good impression on me. He had few customers but I was the first foreigner his shop had ever had, so it was a matter of some moment for him. He had paid a lot of money to have an expert come up from Xiamen 廈門 to teach him how to make and serve coffee the “right way”, exactly the right way. His coffee was thin — but after all it was pretty good, better than you would get today in one of the big-name coffee chains here in New York.

In studying Classical Chinese, or reading collections of philological notes on an ancient dictionary manuscript, or collating piles of handwritten dialect data, you learn not to crave instantaneous satisfaction and even to distrust any result arrived at quickly. But by comparison with mathematics, all of those feel like short-term activities whose conceptual finiteness is easy to demonstrate. The reason for the difference must be that the kind of thinking we do in solving humanistic problems does not require such continual recasting of hypothesis and mindset, or for most of us (I hope I am not shocking anyone) as much rigor, either.

Unlike the other two examples I have cited — polishing my own writing, listening to thoughtfully constructed vocal music — the bending of time by mathematics is unpleasant, except in retrospect after I have succeeded in reaching a solution of some sort. I hope more practice will bring me more facility — that is a prescription that certainly works in studying Chinese, and it is what divides the good students from the mediochre ones. Sometimes mediochre students are vastly more brilliant than good ones, but Chinese requires more than brilliance for its mastery; it also requires the investment of time in what may appear to be drudgery. It requires, in short, commitment to some partial vision of the future along with a willingness to ignore the clock. As for math, impatience is certainly my chief obstacle, and impatience is one of what Epictetus calls “things that are up to us”. I have tried techniques to increase my stamina and concentration, and to recover more quickly from periodic cognitive exhaustion. And to suppress the arrogant expectation that I can cut through the difficulties quickly. Nothing I have tried helps in a way that I could call striking — I mean that nothing lives up to my arrogant expectation that I can continue to indulge in arrogant expectation — and most of it does not help at all, except to distract me and waste enough time to make me feel a little cheated and frustrated again.

In the end, I think what will really matter is my own willingness to suspend impatience and all expectation of achieving finality, to refuse to feel them. I do not find it hard to attain this suspension on some occasions — when I listen to Beethoven’s late music — but in doing math you are not listening; it is as though you are actually composing the music, yourself.

Suddenly perceiving the cantus firmus in a Bach chorus

In the choruses that open many of the Bach cantatas, the basic orchestral and choral setting is Baroque and flowery, but sometimes the whole movement has been built around a cantus firmus or ‘fixed song’, a simple melody that would have been old in Bach’s time — occasionally reaching back to the epoch of plainsong. Many such cantus firmi appear in cantata’s concluding chorales, but I find their setting within opening choruses more striking.

Hearing the ancient melody emerge from within the larger setting, if I am paying attention to the words and music, has the power to overwhelm me because it forces me to recalibrate my mind away from the tempo and organization of the rest of the setting. An ancient text of a few lines, sung in an ancient melody in long notes, seems to seize control of the rest of the choir and orchestra. It is like suddenly hearing a stern voice from the past in the midst of more frivolous chatter around you.

Striking examples include works at the edge of popular classical music, such as BWV 140 ‘Wachet auf, ruft uns die Stimme’, as well as the German Magnificat (BWV 10 ‘Meine Seel erhebt den Herren’), BWV 78 ‘Jesu, der du meine Seele’, BWV 26 ‘Ach wie flüchtig, ach wie nichtig’, and the somber BWV 4 ‘Christ lag in Todes Banden’.

Albert Schweitzer left a fine essay (posted in a century-old translation on Aryeh Oron’s magnificent Bach site, bach-cantatas.com)

After Bach, the bonds between the chorale and the sacred song are completely broken. The melodies that Emmanuel Bach, Johann Joachim Quantz, Johann Adam Hiller and Beethoven wrote, in artistic rivalry, to Gellert’s poems only show what a distance separated them all from the chorale.

In the epoch of Rationalism, it is true, the melodies were not diluted to the same extent as the text; but there was still a hard struggle until the old melodies were again rehabilitated everywhere, and were no longer jostled in the chorale books by the characterless tunes of the later epoch. Now that this has been achieved, the dispute today is as to whether we shall retain the old chorales with the uniform note-values in which we have received them from the eighteenth century, or whether we should restore to them their original rhythmic variety. A definite decision, indeed, is hardly possible. Each “pro” that can be adduced from historical, artistic, or practical considerations is at once opposed by a “contra” of equal force in its way. Bach is concerned in this controversy to the extent that those who advocate the uniform polished form of chorales can plead that, although the opposite tradition had a powerful following all round him, he felt no artistic compulsion to revert to the old rhythmic form of the chorale, and so there is no cogent objection, from the purely musical point of view, against the chorale as we have received it from his hands. Against the enthusiasts for the rhythmic melodies the old master can plead as St. Paul once did against the Corinthians who knew all things much better, that he too thinks he is possessed by the spirit.

Neither flüchtig nor nichtig, in this case.

Two of Elvira’s arias from Don Giovanni

Ah, fuggi il traditor!
Oh, flee the traitor,
Non lo lasciar più dir!
and let him say no more!
Il labbro è mentitor,
His lips are liars;
fallace il ciglio.
his eyes tell falsehoods.

Da’ miei tormenti impara
From my sufferings be warned
A creder a quel cor,
about putting your trust in that heart.
E nasca il tuo timor
And may fear be born in you
Dal mio periglio.
from my peril.


Mi tradì quell’alma ingrata,
He has betrayed me, that ungrateful soul —
Infelice, o Dio!, mi fa.
how unhappy — O God — has he made me!
Ma tradita e abbandonata,
But, betrayed and abandoned though I am,
Provo ancor per lui pietà.
I still know pity for him.

Quando sento il mio tormento,
When I am aware of my suffering,
Di vendetta il cor favella;
of vengeance my heart speaks;
Ma, se guardo il suo cimento,
But when I see the predicament he is in,
Palpitando il cor mi va.
throbbing goes my heart.


Poor Elvira! But I would feel much less sorrow, and therefore less bittersweet pleasure, if she did not prolong and repeat her lines. In the end it is always heartbreaking to hear her final “…ancor per lui pietà,” even though I know it is coming. But the words look foolish, even embarrassing, when I see them flat on the page, and I do not need to see them acted at all. Only the music gives them life and time of their own.