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The music of the Temporalists (English Edition)
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The music of the Temporalists (English Edition) [Format Kindle]

André Pogoriloffsky

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Descriptions du produit

Présentation de l'éditeur

A Parisian drugstore owner (André Pogoriloffsky), a man in his early fifties, who is also a skilled amateur piano player, experiences a two year long mental trip to a parallel (Temporalist) world, as an avatar. He will soon find out that he was purposely "imported” there in order to be taught the basics of that culture’s music theory. Pogoriloffsky is permanently accompanied by a local musicologist – Jean-Philippe, an expert in the European musical tradition – and, for a while, initiated by an old psychologist (Herr Sch… etc.) in the cognitive aspects of Temporalist music theory. The two men ask Pogoriloffsky to memorize as much as he is capable to from the theoretical notions that he is presented with so that, once returned to Paris, be able to transcribe all that information for the use of his own musical culture. In order to become more familiarized with Temporalist music and musical interpretation, in the following months Pogoriloffsky tours an important number of music schools, universities, musical libraries, concert halls and audition rooms or is encouraged to attend various lectures and conferences.
The music of the Temporalists describes a journey into a parallel world that is populated with humans like us who just happened to have cultivated music as "the art of time” and not as "the art of sounds”. Pogoriloffsky recounts all that experience with honesty, doing his best to meet his two guides’ expectations. For this reason, with a very few exceptions, he only describes Temporalist music theory, pedagogy and practice – ignoring most of the unusual things that the parallel world (in which he spends more than two years) surprised him with.

The book is composed of a 30 pages long fictional introduction, a 115 pages long description of the Temporalist music theory (and history), a 10 pages long fictional ending and a table of references.

Evidently, the main focus of the book resides in the music theory chapters that contain a perceptual approach towards the way humans process the many possible aspects of discrete, musical time. The theory is the result of a 20 year long effort by its author to define an alternative system for the classical bar-rhythmical theory. In order to achieve that, he had to read literally thousands of pages of scientific contributions, articles and books on time perception/cognition and rhythm production – all that being consequently filtered down to a standalone theory, presented in the main section of the book.

Thus, along the 28 theoretical chapters the book presents all the perceptual thresholds extant in the 20-3000 ms per musical pulsation range, along with the musical implications of each and every such threshold. It also introduces many other perceptual phenomena (e.g. entrainment, chunking, subjective accentuation, pulsatory inertia, temporal gap perception etc.), thus mapping all the aspects of temporal discretization that are relevant from a musical point of view.

In order to achieve cohesion and accessibility, the theoretical system is presented as if it already constituted the basis of a complex, hands-on, musical tradition.The inherent shortcomings of this kind of fictional musicology are well counterbalanced by the fact that musicians who will read the book will benefit from the fact that the theory is presented as a real, fully functional system. It could never be stressed enough the fact that, despite the unusual approach, the theory itself is all but 100% based on real perceptual phenomena substantiated by the many scientific studies mentioned above and detailed in the list of references.

Biographie de l'auteur

André Pogoriloffsky is the pen name used by Andrei Covaciu-Pogorilowski for his book “The music of the Temporalists”. He was born in Bucharest, Romania, in February 1968. • Starting with 1982, he studied music independently, helped by several private professors. • In 1989 A.P. started to hear in his head a strange yet beautiful music that he was unable to notate. Short excerpts were presented on the piano to his musician friends who confirmed that the temporal fabric of that music could not be rendered satisfactorily with help from the traditional, bar-rhythmical, semiography. • Between that point and 1994, A.P. tried to formulate a theory and a notation for that music, the first result being his first published book – “Energies of musical time - essential studies of pulsatory functionalism”. • In the late ‘90s, A.P. discovered cognitive musicology and started to merge his own discoveries with the bulk of scientific contributions from this interdisciplinary domain. After abandoning several approaches, the final result was his last book “The music of the Temporalists”, available now on Amazon Kindle. n The author is currently living in his hometown, Bucharest, along with his wife Simona and his nine years old daughter Ina.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 904 KB
  • Nombre de pages de l'édition imprimée : 214 pages
  • Pagination - ISBN de l'édition imprimée de référence : 1480253871
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • Synthèse vocale : Activée
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Commentaires client les plus utiles sur (beta) 4.4 étoiles sur 5  10 commentaires
13 internautes sur 13 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The neglected side of musical rhythm 9 mars 2012
Par Stephen Malinowski - Publié sur
Format:Format Kindle|Achat vérifié
Historically, music theory has dealt with attributes of rhythm that are largely independent of tempo, such as meter, subdivision, rubato, syncopation, repetition, contrast, and cross-rhythms. A conventional rhythmic analysis of, say, a Beethoven symphony would be just as valid if the piece were played half or twice as fast as usual. There are, however, aspects of rhythmic perception and esthetics that are not independent of tempo (which is part of why a Beethoven symphony is not often performed at half or twice the normal tempo). In his 1994 book, Energies of Musical Time, Pogorilowski laid out a theory of rhythm that dealt with this previously-unaddressed (or, at least, under-addressed) side of rhythm, and he has published the material in several forms since then. I found this latest presentation, Music of the Temporalists, the most accessible (and the most fun). By portraying an alternate universe in which the history of the tempo-dependent and the tempo-independent aspects of music are reversed, he gives the reader a foothold, a context in which his theory can be reified and its implications elaborated, as a sort of thought experiment. After reading Pogorilowski's earlier writings, I was left asking "yes, but what does it mean?" After Music of the Temporalists, my question was "what would such music sound like?"
8 internautes sur 9 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Music of the Temporalists 12 février 2012
Par Schell - Publié sur
Format:Format Kindle|Achat vérifié
Although told as a fictional story, the substance of the book is rooted in the real science of human cognition as regards to musical time. It has inspired me to re-examine my own preconceptions of time and rhythm, as well as create new exercises in order to experience the precepts of this imaginative and clever guide. The fictional part of the story is a charming introduction used to bring the reader to a new place where assumptions about time may be challenged and experienced without bias. I am enjoying it a great deal. Highly recommended!
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 The work of a genius 3 février 2013
Par Robert Loeber - Publié sur
Format:Broché|Achat vérifié
Pogoriloffsky is a kindred soul with Jorge Luis Borges and Italo Calvino. This statement also clarifies how I read his book; as a work of art, and less as a theoretical framework. The book has a Utopian flavor and resembles in its structure the works of More, Swift and Dante.

The protagonist André is initiated in the world of the Temporalists, which strongly resembles ours, but with some important differences. A guide, Jean- Philippe, explains everything to André who has, as a chosen one, the task to inform us afterwards about the Temporalists.

In this case the subject of his information are the 'mirrored' music rules of the Temporalists. In the Temporalist world the focus of regulation is not the sequential progression of harmony, but the framing of rhythm, or better the duration of sound. Our church modes are reversed into 'temporal scales' based on different time grids. In order to appreciate the chapters with these explanations a knowledge of western harmony is required, otherwise the whole point makes little sense. Pogoriloffsky presents a clever theory - in fact a fantasy - and takes a lot of trouble to ground it on western scientific research on music perception. Whether he really has a point or not is in my view rather irrelevant. The fact that the division in time and tempo falls behind the complexity of harmonic rules in our human world makes clear that we (western) humans apparently have no need for more rules or habits on time divison. The temporalist emphasis on time reminds us of African ways on dealing with tempo and cross-rhythms, which is indeed a neglected part in western music.

What really made this book so enjoyable is the humor with which Pogoriloffsky takes the consequences of his imagined world into the realm of the absurd. The Temporalists language is a reflection of their focus on time division. The sound of phonemes is therefore irrelevant, which results in the continually changing name of André's second informant, Herr Professor Schneiderzeit, Schumpfel, Schönemülerin etc.

Or take the Temporalist 'rain-game', that is played by listening to the rainfall on the roof. The irregular falling drops create sequences that are interpreted as 'words', like coffee dregs in our society. There is a hilaric passage about the Finnish language, and the way our hero introduces the habit of smoking to the Temporalists, immediately resulting in addicted 'hippy blowers' on the campus. Breathtakingly funny is the last chapter about André's farewell party, when strapped in a kind of electric chair (he must apparently leave by dying), he is forced to listen to the Temporalists interpretations of 'our' western music.

Although Pogorilloffsky states in the beginning that his book is not to be read as literature or science fiction, for me this was the case. By presenting to us an alternative society with different rules and strivings, the reader gets the opportunity to look at his own world from a different perspective. And that is what art is about: to present an idea of the possible, and enlarge our habits of thinking.
11 internautes sur 14 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Cultural speculation 28 avril 2012
Par Amazon Customer - Publié sur
Format:Format Kindle
This is a work of cultural speculation: a description of an imagined music that cannot be experienced by someone who did not grow up in the imagined culture here described. That is to say, that this speculative music cannot be experienced in sound by anyone on the planet including the author of the book. (One of the other reviewers of this book ends his review wondering what the music would SOUND like.) Some readers will find it enjoyable to engage in this intellectual speculation. I found it frustrating because there were so few boundary conditions for the author's speculations. Music relies -- as the author makes very clear -- not only a theoretic and mathematical constructions but also upon associations and fluencies developed over many formative years. I was disappointed that there were not more links into the actual world that we all inhabit and to musical references in our own world.

The cultural speculation is couched as a work of fiction. The author is obviously a very thoughtful speculative music theorist but I found his (apparent) emulation of Borges or Calvino to be unconvincing.
3 internautes sur 3 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 A real mind-bender 17 mars 2014
Par Bobby Griffith - Publié sur
Music has been defined as the art of sound in time, and this book describes a theoretical system of music that, in contrast to the western European classical tradition, privileges the durational aspect over the pitch aspect in terms of precision, elaboration, and general focus. As in Edwin Abbott's Flatland, a fictional and fantastic frame story is used to help the reader grasp some quite abstract theoretical concepts. It raises some interesting questions about what features we pay attention to when composing, performing, or listening to music, and what aspects we consider more peripheral or incidental. The ideas presented are fascinating, even mind-bending.

The main character, like the author, does not speak English as his first language, and the book appears to have been self-published, perhaps without an editor. The ensuing typos and occasionally eccentric choices in vocabulary and syntax make this intriguing exposition of some complex ideas a little more difficult to follow than perhaps it needs to be.
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