Към въпроса за някои употреби на времето в новата музика. Подходи към „новата сюжетност”
On Some Treatments of The Phenomenon of Temporality in New Music. Approaches to “The New Narrativity”

Summary/Abstract: This article consists of two sections. The first section examines Karlheinz Stockhausen’s theoretical concepts concerning the unusual treatment of the phenomenon of temporality in new music and the behavior of time in the abstract musical narrative. It also explores the practices of the so-called “spectral school,” whose representatives approach the problem of the “temporalization” of music in ways both similar to and different from Stockhausen’s (special attention is paid to the music of Gerard Grisey - the most prominent representative of la musique spectrale). Differences are derived by researching the fundamental relationship between the structural and the genetic. An attempt is made to outline the historic transition from the calculatedly ornamental thinking of the Darmstadt avant-garde to the existentially grounded, “calm in its openness” thinking of the next generations, who followed in the avant-garde’s footsteps. The second section of the article applies theses from Martin Heidegger’s fundamental ontology as a general, meta-technical and existential foundation for the synchronic analysis. Translation from the narrowly professional lingo into the realm of philosophical language opens up territories where, on the basis of already-completed analyses, it introduces the concepts of narrativizing as an activity specific to the composer and the narrative as the primary expression of temporality in the musical work. This section also offers some possible narrative analyses using examples from the music of G. Ligeti, E. Poppe, A. Vieru, and G. Grisey, among others.

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