Time's Encomium is the title because in this work everything depends on the absolute, not the seeming, length of events and sections. Being electronic, Time's Encomium has no inflective dimension. Its rhythm is always quantitative, never qualitative. Because I need time, I praise it; hence the title. Because it doesn't need me, I approach it respectively; hence the word 'encomium'.
According to the composer, the primary concern of the piece appears to be rhythmic, since only pure quantitative duration, as opposed to qualitative performance variable inflection, is available to one in the electronic medium, though, "the basic materials are the twelve tempered pitch classes, and pitch-derived time relations," (due to the constraints of the synthesizer).[2] As such, he composed, "with a view to the proportions among absolute lengths of events -- be they small (note-to-note distances) or large (overall form) -- rather than to their relative 'weights,'....conform[ing] to the basic nature of a medium in which sound is always reproduced, never performed."[2]
However, Wuorinen rescored the piece for standard orchestra, titled Contrafactum published by C.F. Peters.[5] The original piece was remastered and rereleased on Tzadik Records.
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