This thesis and accompanying portfolio explore the perceptual capabilities of parametrically defined musical materials as potentially significant mediators of temporal perception. The methods involved concern the use of materials on the basis of their relative parametric attributes and attentional qualities in their relative contexts. Through the use of various structures in addressing matters of repetition and resemblance, the presented works pursue an engagement with cognitive memory in ways which emphasise both subjective and ambiguous temporalities. Across discussion of the portfolio as a whole, I explore the use of materials created through assessments surrounding the parameters of pitch, dynamic, timbre, and duration, alongside considerations of silence as musical material. Each work employs different approaches to one or more of these elements, with reflections on their inherent qualities and interrelationships prompting discussions which encompass varied phenomenological viewpoints. The music is contextualised within the contemporary landscape by means of contrast and comparison with established repertoire - addressing the distinctive features, influences, and approaches of the submitted works to offer a nuanced reflection of how they situate in the field. Furthermore, inquiries surrounding the perception of time through music are examined from diverse perspectives, incorporating related philosophical views with more empirical contributions from the cognitive sciences.