To advance any cross-cultural musicology we could do worse than to refine our perspectives on temporality. Yet labeling qualities of musical time–as if such qualities were static–locks in counterproductive essentializations, since old categories like linear and nonlinear time emerged from obsolete distinctions between the West and “the rest” and are based on misleading analogies to the physical world. Such polarized distinctions now seem insufficient. Indeed, any sense of stability in a temporal category is illusory, since even in musics of strict repetition, time and its perceivers are always moving. Thus it may be more productive to typologize temporal transformations, as a way to focus on unfolding process. This article begins to address the question of how many ways musical time can transform. Choosing the culturally and structurally weighted process of temporal augmentation as a case study, I focus on analysis and comparison of examples from Europe, South India and Indonesia. Explanations are sought for how a culturally informed listener perceives the unfolding of augmentation, and in so doing comes to reevaluate the sense of orientation in the music’s time.