Музикалното време и неговата многоезикова същност. Поетически прочит на политемпията при Стефан Драгостинов
Musical Time and Its Multilingual Essence: A Poetic Reading of Stefan Dragostinov’s Polytempia

Summary/Abstract: Visions of musical time from the end of the 20th century are an important indicator of the exhaustion of the postmodern state. In Bulgarian music, one such appearance can be found in experiments with polytempia, which are especially clearly represented in the work of Stefan Dragostinov. In the 1970s and 1980s he created a series of choral and orchestral scores using “controlled polytempia”. His ideas about musical time also continue in his poly-metrical experiments from the end of the 20th and the beginning of the 21st centuries. In polytempia, the multi-part nature of time is shifted into various sonic realities: the sonic sphere of speech (following the description by folklorist Ivan Kachulev); the sonic sphere of “nature,” oriented towards the sound/silence relationship; and finally, instrumental metaphor. The encounter between controlled polytempia and folkloric-everyday word-formation is a prerequisite for a new reading of musical time. One of the characteristics of controlled polytempia is a schema of proportions. The system of proportions in the polytempia technique can be defined as the multiple appearance of asymmetricality. The basic key for deciphering Dragostinov’s original conception is the idea of “makam-ness,” introduced as the integration of quarter-tones and micro-chromaticism. Among different types of works using polytempia, Stefan Dragostinov’s project is unique within international practice, he does not fall into any established tendencies. The reason for this is that the composer created a unique way of mixing/fusing language and temporality.

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