Времеви индекси на формата. Някои прояви на поливалентно композиционно мислене в българската музика
Temporal Indexes of Form. Some Manifestations of Polyvalent Composition Thinking in Bulgarian Music

Summary/Abstract: The article discusses some of the characteristic manifestations of polyvalent composers’ thinking, particularly in the rhythmic sphere. A special attention is paid on the concept of temporal index (chronoindex) of the form – the formula (or formulae), after which the dislayering of time in musical form is implemented, narrowly speaking. „Dislayering” is meant here as a feature of the “shaped” usage of time, a procedure that is opposite in direction and action to “historisizing”, i.e. layering of figures and meanings (from German Geschichte – Schicht=”layer”). Then chronoindex follows a given mathematical algorithm and is placed in a direct relation with the chosen by the composer registers of simulteinity, synchrony and asynchrony. Another term implemented is time box – the real temporal content of a given musical discoursive unit. A characteristic feature of the time box is the tension between the regularity of the impulses of the “unsounded temporal continuum” and the different rhythmic habitation of the formed by it “temporal cells”. The author discusses particual individual composers’ projects treating the issue of time boxes and poly-phenomena in the sphere of rhythm and metrum. From this perspective (and in the light of Heideger’s temporal analitics) the author discusses the scores of Bojidar Spassov, Roussi Tarmakov, Georgi Tutev, Vassil Kazandzhiev, Gyцrgy Ligeti, Stefan Dragostinov, Simeon Pironkoff-Junior, Roumen Balyozov. Special attention is paid to chronoindexes in the music of Luigi Nono from the period 1955-1962. A special case of rejection of form as a kind of form is cited to be LaMont Yang and his extreme concentration on time as a pure phenomenon, not as a horizon of the World.

• Details
• Contents