Following the aesthetics of pure continuity in the late 1970s, Grisey moved on to compose for unpitched percussion in Tempus ex Machina, focusing on pure rhythm. Shortly afterwards he elaborated on his theory of temporality in a talk and article of the same title; one decade later, he included Tempus as the first movement of Le Noir de l’Étoile. Grisey insisted on the significance of the perception of musical time, of the skin of time – as opposed to its skeleton or flesh. This article puts forward an interpretation of Grisey's thinking of temporality, drawing on concepts from French philosophy. It further provides an analysis of two sections of Le Noir, tracing these concepts in the structuring of musical time, with a view to providing a possible direction towards a re-definition of spectral time.

中文翻译：

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Grisey 的 Le Noir de l'Étoile 中的光谱时间皮肤

遵循 1970 年代后期纯粹连续性的美学，格里西继续为无音调的打击乐作曲Tempus ex Machina，专注于纯粹的节奏。不久之后，他在同名的演讲和文章中详细阐述了他的时间性理论。十年后，他包括坦普斯作为第一乐章Le Noir de l'Étoile. Grisey 坚持认为音乐时间感知的重要性，皮肤时间——而不是它的骨骼要么肉. 本文借鉴法国哲学的概念，对格里西的时间性思想进行了阐释。它进一步提供了对两个部分的分析黑夜，在音乐时间的结构中追踪这些概念，以期为重新定义频谱时间提供可能的方向。