In this paper, I will focus primarily on Gerhard's thoughts regarding temporal theory, such as his explorations in the serialization of rhythm and meter and his theories on formal proportions, since he spent much of the late 1940s through 1960s grappling with theoretical issues that would have an impact on the musical output of his years in exile. Through a close examination of Gerhard's compositions, essays, lectures, notes, and additional archival evidence, one can demonstrate the full extent of Gerhard's artistic ability and creative thinking as compared to his contemporaries. Thus, through the examination of his writings in conjunction with his compositional output, we discover a body of music and scholarship that, as Meirion Bowen claims, is essential to the modern repertoire.