Q Time Machine: Rethinking the Ontology of Time and Musical Structure
Liner Notes by
Ehsan Saboohi

Abstract
Q Time Machine redefines musical time through a novel rhythmic system inspired by the quark in physics. This project explores a non-linear, relativistic concept of time, using the desarkaten, a traditional Iranian percussion instrument, and integrates Python programming for generative composition. The liner notes detail the Q system, its philosophical underpinnings, and its educational applications, accompanied by five percussion quartets and supporting materials.

This project moves beyond the common question “What is time?” and instead poses a deeper one: “Who is time?” This shift in perspective is significant. In philosophy, from Kant, who viewed time as a necessary condition for perception, to Heidegger, who saw it as the horizon for understanding existence, time has been treated as an abstract framework. However, this project proposes time as an independent and self-sufficient entity within ontology. In this view, time is not merely a backdrop for events but an active force. It forms a network of unique moments where past and future do not follow a straight line but emerge through event-based interactions across different layers of existence.

In this framework, time is neither linear nor cyclical; it is a complex collection of singular moments. Thus, the question “What is time?” becomes less relevant, and “Who is time?” takes its place. This question invites us to reconsider time as an entity with agency, one that shapes musical events and is, in turn, shaped by them.

The project is built on a new temporal unit called Q. Inspired by the quark in physics, Q represents the smallest indivisible unit of time. Each Q equals zero point one seconds, creating a foundational grid that divides time into discrete, manageable parts. This approach eliminates reliance on traditional musical structures like time signatures and bar lines, which often impose a uniform temporal grid on performers.

To better understand the Q system, the following terms and their relationships are essential:

– Q (quark): The basic temporal unit, equal to zero point one seconds.

– T: The duration of one Q, which is T equals zero point one seconds.

– QPS (quarks per second): The primary measure of tempo, calculated as QPS equals one divided by T. With T equal to zero point one seconds, QPS is ten Q units per second, representing the number of rhythmic pulses or units within one second.

– QPM (quarks per minute): An alternative tempo measure, calculated as QPM equals sixty divided by T. With T equal to zero point one seconds, QPM is six hundred Q units per minute, representing the number of rhythmic time units within one minute.

– L (line): A complete phrase or cycle made up of several Q units, similar to a musical unit.

– H (hit): An active sound event in a Q unit.

– S (silence): A pause or inactive event in a Q unit.

– SubQ: A subdivision of a Q unit, allowing for finer rhythmic precision within the zero point one second frame.

Unlike classical music, which depends on a shared metric framework, the Q system grants each performer temporal autonomy. Each performer operates in their own local time, defined by their personal QPS rate. This allows performers to play their parts at different speeds, creating complex polyrhythmic interactions without needing a shared pulse or conductor.

For example, consider four performers (P1 to P4), each with a different rhythmic line made up of ten Q units using H (hit) and S (silence):

P1 | H | S | H | S | S | S | S | S | S | S |

P2 | H | S | S | H | S | S | S | S | S | S |

P3 | H | S | S | S | S | H | S | S | S | S |

P4 | H | S | H | S | S | S | S | S | S | S |

Each performer can choose their own QPS, such as:

– P1: QPS equals fifty-six

– P2: QPS equals forty

– P3: QPS equals forty-eight

– P4: QPS equals sixty

In this system, no performer is ahead or behind another. Each exists in their own temporal reality, contributing to a collective sound where time is multiple and decentralized. This approach dismantles traditional hierarchical temporal structures and creates a relativistic, non-classical space.

The technical implementation of this project relies on extensive programming in Python. This tool enables the calculation and execution of complex rhythmic structures that are challenging to achieve with standard music software.

The Python scripts perform the following tasks:

۱. Rhythmic analysis: Converting traditional rhythmic patterns into Q-based representations.

۲. Temporal mapping: Assigning QPS rates to performers and simulating polyrhythmic interactions.

۳. Generative composition: Algorithmically generating rhythmic lines based on defined parameters, enabling significant variety within the Q framework.

This integration of programming and composition not only makes the Q system feasible but also opens new avenues for exploring algorithmic and generative music with a fresh perspective on time.

The Q Time Machine is more than a compositional project; it is an educational and collaborative initiative. Its program includes:

۱. Publishing quartets: Five introductory quartets for non-melodic percussion instruments, each exploring different aspects of the Q system.

۲. Solo pieces: A collection of solo works at four educational levels (beginner to advanced), designed to teach the Q system step by step.

۳. Rhythm reading system: A new method for teaching rhythm, based on the logic of the Q Time Machine, aimed at enhancing performers’ understanding and internalization of time.

These materials are published through the Postorientalism label and are available on Bandcamp, along with:

– High-quality audio recordings

– Educational and performance videos

– Complete scores

– Practice exercises

– Open-source Python codes for temporal analysis and composition

The initial performances of the Q Time Machine quartets feature the desarkaten, a traditional non-melodic percussion instrument from Mazandaran, Iran, which has largely faded from contemporary use. This choice grounds the project in local musical heritage while exploring a new rhythmic language through the Q system.

Guidelines for Performers

This collection uses four non-melodic percussion instruments, arranged in a consistent spatial configuration to shape the auditory identity of each quartet. Performers may select equivalent instruments based on cultural context or acoustic availability, provided the sonic role and temporal function of each instrument align with the composition’s auditory architecture. This flexibility aims to encourage cross-cultural dialogue through the concept of relative time in music, while preserving the integrity of the work’s rhythmic and spatial structure.

Album Credits

Ehsan Saboohi – Composer, Python Programmer, and Performer
Postorientalism Studio – Mixing and Mastering Engineer
Ehsan Saboohi – Cover Photography
Postorientalism Label – Publisher
Publication: 2025, Washington
Catalog Number: PO-0110
© ۲۰۲۵ Postorientalism Label. All rights reserved.

Track List

۰۱. Percussion Quartet No. 1
02. Percussion Quartet No. 2
03. Percussion Quartet No. 3
04. Percussion Quartet No. 4
05. Percussion Quartet No. 5

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