This paper reconsiders mythic time as a mode of temporal organization that emerges through structural and symbolic reconfiguration, rather than as a pre-given or archaic residue. Drawing on Ernst Cassirer, Mircea Eliade, and Claude Lévi-Strauss, it argues that mythic temporality is produced in relation to historical and linear time rather than in opposition to it. In this sense, myth operates not by suspending time but by reorganizing it.

Methodologically, the study approaches musical temporality through narrativity, with particular emphasis on James J. Liszka's concept of transvaluation as a hermeneutic tool. Transvaluation is understood as the process through which musical elements shift their relative weight, function, and hierarchy, thereby generating new temporal logics. From this perspective, mythic time in music is enacted through the reconfiguration of musical hierarchies rather than represented through thematic or symbolic reference.

These concepts are applied to Ljubica Marić's Archaia and Archaia II. The analysis demonstrates how their temporal structures emerge from the redistribution of musical priorities rather than from stylistic archaism or liturgical reference. These works construct a form of time that is neither linear nor static, but symbolically intensified and structurally reoriented.

By linking myth, narrativity, and transvaluation, the paper offers a framework for understanding musical time as a dynamic space in which symbolic hierarchies and temporal structures are enacted.