This article explores the relationship between the human time of music making and the temporal layers that pervade the natural resources of musical instruments. It therefore offers case studies on two of popular music's most common instruments, the electric guitar and the synthesiser, and their symbolic and material temporalities: guitar players’ quest for ‘infinite sustain’ from Santana to today's effects manufacturers and the ‘psychogeophysical’ approach by artist and theorist Martin Howse, who developed a synthesiser module using radioactive material in order to determine musical events by nuclear decay. While language uses metaphors of sustain and decay as figurative ways to express both musical and planetary dimensions, practices of music offer alternative ecologies of relating the seemingly unrelatable scales of deep time and musical time. If in the Anthropocene humankind becomes aware of its role as a geophysical force, thinking about making music in the Anthropocene requires an awareness for the temporalities involved in the materials at hand. Besides an ecological perspective, the article looks at various media (magazines, ads, and manuals) and thus positions economical mechanisms of the musical instrument manufacturing market as a small-scale experimental setting for larger-scale industrial processes.

中文翻译：

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延音和衰减的音阶：在深度时间中制作音乐

本文探讨了音乐创作的人类时间与遍布乐器自然资源的时间层之间的关系。因此，它提供了关于流行音乐中最常见的两种乐器，电吉他和合成器的案例研究，以及它们的象征性和物质性：吉他手从桑塔纳到今天的效果制造商对“无限延音”的追求，以及由艺术家和理论家 Martin Howse，他开发了一种使用放射性物质的合成器模块，以便通过核衰变来确定音乐事件。虽然语言使用维持和衰减的隐喻作为表达音乐和行星维度的比喻方式，音乐实践提供了另一种生态，将看似不相关的深度时间和音乐时间的尺度联系起来。如果在人类世人类开始意识到它作为地球物理力量的作用，那么考虑在人类世创作音乐需要对手头材料所涉及的时间性的认识。除了生态视角之外，本文还着眼于各种媒体（杂志、广告和手册），从而将乐器制造市场的经济机制定位为大规模工业过程的小规模实验环境。