The articles in this collection create an interdisciplinary perspective. While attempting no unified vision, it approaches the subject from a variety of perspectives: aesthetics, psychology, sociology, ethnomusicology, compositional practice, and semiotics. While all composers are necessarily concerned with time, and while all theorists deal at least indirectly with music as a temporal phenomenon, the study of musical time has been fragmented. It is appropriate that no clear paradigm, model or direction has yet emerged in the study of muscial time, since time itself is both pervasive and elusive.