An interesting idea about how music and time interact. Unfortunately, I’ve had to cut a number of the elaborating bits that flesh out the argument. If you are very interested, check out the book Sound and Symbol, Chapter 12: The Musical Concept of Time.
[…] melody is a temporal Gestalt; temporal Gestalt presupposes that a temporal whole–a whole whose parts, with the exception of the one part present at the moment, either are no longer there or are not yet there–is given to us in an immediate experience. […] thus past and future are given with and in the present and are experienced with and in the present […] But the past is not a part of the future because it is remembered, nor is the future a part of the present because it is foreknown or forefelt. […] The temporal whole with which we are here confronted is, then, certainly not the work of memory and foreknowledge or forefeeling. […] Every melody declares to us that the past can be there without being remembered, the future without being foreknown–that the past is not stored in memory but in time, and that it is not our consciousness which anticipates time but that time anticipates itself. The possibility of music and of every temporal Gestalt rests entirely upon the premise of a time […] that stores itself and anticipates itself.
[…] What a melody is on a small scale, the total course of a musical work is on a large scale–a whole that unfolds in time and is so constituted that, though its individual members appear one after another, the whole, in order to be present, does not have to wait for member to be added to member, but is, so to speak, always already there, not factually, as with the spatial Gestalt, but as direction, as oriented tension.
~ Zuckerkandl, Sound and Symbol, 236-237