Scholarship on musical time recognizes the depiction of timelessness in music as a possibility. However, many theories of musical timelessness center around total stasis as the ideal method for creation of the effect, tolerating relative motion only out of necessity and viewing such motion as a weakening force in this regard. There is little investigation of the interaction between other modes of musical time and the mode of timelessness. Hence, no theory offers a comprehensive expansion of scope to include more complex depictions of timelessness in relation to time. This paper addresses these points, offering a framework for understanding musical timelessness as both an immediate and disclosed phenomenon. Support for the argument in favor of expanding the scope of envisioning musical timelessness is found through analysis of four final movements: Der Abschied from Gustav Mahler\u27s Das Lied von der Erde, Apothéose from Igor Stravinsky\u27s Apollo, Louange pour l\u27Immortalité de Jésus from Olivier Messiaen\u27s Quatuour pour la Fin du Temps, and Sea-Nocturne (for the end of time...) from George Crumb\u27s Vox Balaenae
