Music, Phenomena, Temporality

Towards the end of #52 of World as Will and Representation, Schopenhauer observes that "I might have much to add on the way in which music is perceived, namely in and through time alone, with absolute exclusion of space, . . . but I do not wish to make these remarks more lengthy."  However, what he omits is arguably essential to what he does present.  For, the segregation of the contemplation of Music from the representation of spatio-temporal phenomena is, to that point, at least, a cardinal feature of his system, plus the suggestion of an attribution of 'temporality' to Music also draws attention to the non-static character of noumenal Will.  Perhaps the significance of what he is avoiding is illustrated by contrast with Bergson's radical innovation at a similar juncture, i. e. the introduction of 'Duration' as Temporality appropriate to Music, and to a metaphysical principle, i. e. his 'Elan Vital'.  Accordingly, an analogous application of such an innovation to Schopenhauer's system would lead to his re-conceiving the phenomenal realm as spatial, but not temporal, i. e. the converse of his cited insight that the perception of Music excludes space.  Instead, what Schopenhauer leaves unexamined is more than a mere addendum to a concept of Time that, as is, seems overextended.