Нова музика в терминологичния прочит на новата българска музика (фрагменти)
New Music in a Terminological Reading of New Bulgarian Music (fragments)

Summary/Abstract: This article is in honor of Prof. D.Sc. Dimiter Chrisroff ‘s 75th birthday. This paper examines the variety of terminological views of the concept for New Music (Neue Musik, Music Contemporain), wich is loading with diff erent connotations in the description and the analysis of the compositional creativity in the beginning of the 21st century. On the one hand, this is music created here and now; on the other hand, contemporary also applies new (news) and in that respect it legitimizes new compositional expressions that give it a new informational - and in some cases also new value - content. Today, with respect to compositional creativity, active discussion of contemporary music is associated above all with musical postmodernism, which is loaded in terms of content with various manifestations of postand neo-. One feature of new music that is particularly characteristic of the 20th century is legitimization of individual creative expression through musical language. In this context, the article examines the idea of modern/new music as the history of musical-cultural explosions. It also traces the formulation and legitimization of ideas about new music in the musical 20th century, as well as new (contemporary) music as a musical-historical and aesthetic-musicological problem for Bulgarian scholarship. An attempt is made to formulate the stylistic category new (contemporary) as: music of our time that expresses its spirit and ideas through a corresponding musical language and compositional techniques based in and conceptualized in terms of the search for an individual compositional signature that involves learning from the experience of the past and the present in the wide context of the national tradition and the international musical 20th and 21st centuries. The topic of the musical avant-garde in Bulgarian music and its interpretation is examined through synchronicity with processes in the Western European avant-garde, the basic argument being the author’s thesis about „hovering“ ideas that simultaneously unite composers from different nationalities. Different compositional projects and creative readings connected by the conceptual apparatus of new music can be characterized using the categories of uniqueness and universality. As an illustration of the different approaches to formulating and interpreting the stylistic category new music in Bulgarian music, the author examines the viewpoints of the composers Dimitеr Christoff and Vladimir Pantchev, who are representatives of different generations and who have their own paths to New Music, in which the idea of New Music is also connected with a new working conceptual apparatus.

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