Звукът като ритуал в творчеството на композитора Георги Арнаудов
Sound as a ritual in composer Gheorghi Arnaoudov’s work

Summary/Abstract: Thinking of music as of a new sound space develops (constructs) a ‘New Sound Sensuousness’. A series of articles by the author deals with the cognitive processes underway in musicians’ minds – composers, performers, audiences, researchers themselves in their touch with the sound reality (musical material and sound structures), as well as with the central to the present time creative problems: the quest for new aesthetics and a new musical language within Art Music. Identification, objectification and terminologisation of composers’ theoretical and autoreflective aspirations and creative findings are included at the level of contemporary music-theoretical tools. With composer Gheorghi Arnaoudov (b. 1957), his attitude towards sound underpins his ideas of developing a musical construction. Using various compositional techniques and their substantial reframing, a new musical sensuous field is achieved. Various models of work with sound are highlighted that are, more often than not, successive stages in Gheorghi Arnaoudov’s compositional expression. In terms of aesthetics and style, these are well-reasoned in his theoretical and other texts and can be traced in their visualisation in the score. Ritual I (1988) and Ritual II – Incarnation dans la lumiere for piano (1993); Ritual III – Borges Fragment (1993) and Ritual IV – Kells for violoncello (1999) are a subject matter of analysis.

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