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For example: a composer who inserts random
techniques into linearly proportional time units with a view to creating
an experience of the relativity of time in a non-classically defined
exchange, produces an ambiguous, half-hearted time frame. If his or her
collages or style constructions treat music from different periods as
equal ’musical material’, he or she fails to notice that the same two
minutes of time are not used in the same way by Machaut, Bach, Wagner,
or Schönberg.