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Time point
In music a time point or timepoint (point in time) is "an instant, analogous to a geometrical point in space".〔Jonathan D. Kramer, ''The Time of Music: New Meanings, New Temporalities, New Listening Strategies'' (New York: Schirmer Books; London: Collier Macmillan Publishers, 1988): p. 454. ISBN 0-02-872590-5.〕 Because it has no duration, it literally cannot be heard,〔Kramer 1988, p. 97〕 but it may be used to represent "the point of initiation of a single pitch, the repetition of a pitch, or a pitch simultaneity",〔Milton Babbitt, "Twelve-Tone Rhythmic Structure and the Electronic Medium", ''Perspectives of New Music'' 1, no. 1 (Fall 1962): 49–79. Citation on p.72.〕 therefore the beginning of a sound, rather than its duration. It may also designate the release of a note or the point within a note at which something changes (such as dynamic level).〔Charles Wuorinen, ''Simple Composition'', Longman Music Series (New York: Longman, 1979): 131. ISBN 9780582280595.〕 Other terms often used in music theory and analysis are attack point〔Lejaren Hiller and Ramon Fuller, "Structure and Information in Webern’s Symphonie, Op. 21", ''Journal of Music Theory'' 11, no. 1 (Spring 1967): 60–115. Citation on p. 94.〕 and starting point.〔Hubert S. Howe, Jr., ''Electronic Music Synthesis: Concepts, Facilities, Techniques'' (New York: W. W. Norton & Company, Inc., 1975): p. 28〕 Milton Babbitt calls the distance from one time point, attack, or starting point to the next a time-point interval,〔Babbitt 1962, p. 67.〕 independent of the durations of the sounding notes which may be either shorter than the time-point interval (resulting in a silence before the next time point), or longer (resulting in overlapping notes). Charles Wuorinen shortens this expression to just ''time interval''.〔Wuorinen 1979, 130.〕 Other writers use the terms ''attack interval'',〔 or (translating the German "''Einsatzabstand''"), ''interval of entry'',〔Armin Klammer, "Webern’s Piano Variations, Op. 27, 3rd Movement", translated by Leo Black, ''Die Reihe'' 2: "Anton Webern" (English edition, 1958): 81–92, citations on pp. 81, 82, 86; Karlheinz Stockhausen, "Structure and Experiential Time", translated by Leo Black, ''Die Reihe'' 2: "Anton Webern" (English edition, 1958): 64–74, citation on p. 64; Richard Toop, ''Six Lectures from the Stockhausen Courses Kürten 2002'' (Kürten: Stockhausen-Verlag, for the Stockhausen Foundation for Music, 2005): 30, ISBN 3-00-016185-6.〕 ''interval of entrance'',〔Pascal Decroupet, "Rhythms—Durations—Rhythmic Cells—Groups, Concepts of Microlevel Time-Organisation in Serial Music and Their Consequences on Shaping Time on Higher Structural Levels", in ''Unfolding Time: Studies in Temporality in Twentieth-century Music'', Geschriften van het Orpheus Instituut 8, edited by Marc Delaere and Darla Crispin, 69–94 (Louvain: Leuven University Press, 2009): p. 85. ISBN 9789058677358.〕 or ''starting interval''.〔Dieter Schnebel, "Epilogue", translated by Sharmila Bose, in ''Stockhausen in Calcutta'', selected by Hans-Jürgen Nagel, pp. 1–5 (Calcutta: Seagull Books, 1984): 2.〕
==Interonset interval==
The corresponding term used in acoustics and audio engineering to describe the initiation of a sound is onset, and the interonset interval or IOI is the time between the beginnings or attack points of successive events or notes, the interval between onsets, not including the duration of the events.〔London, Justin (2004). ''Hearing in Time: Psychological Aspects of Musical Meter'', p.4. ISBN 978-0-19-974437-4.〕 A variant of this term is interval of onset.〔John MacKay, "On the Perception of Density and Stratification in Granular Sonic Textures: An Exploratory Study", ''Interface'' 13 (1984): 171–86. Citation on p. 185.〕
For example, two sixteenth notes separated by dotted eighth rest, would have the same interonset interval as between a quarter note and a sixteenth note:
The concept is often useful for considering rhythms and meters.〔
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