Елисавета Вълчинова-Чендова: „Концептът нова звукова сетивност – творчески проекции: Димитър Христов, Владимир Панчев, Георги Арнаудов“
Elisaveta Valchinova-Chendova: “The Concept of a New Sound Sensuousness – Creative Projections: Dimiter Christoff, Vladimir Panchev, Gheorghi Arnaoudov”

Summary/Abstract: In her book Elisaveta Valchinova-Chendova defines the term “new sound sensuousness” as an aesthetic and technological music category associated with the construction of a new musical language and a new sound space where sound ideas are placed. She develops it as an actual concept defined as thinking of new music as a new sound space marked by the connection between the cognitive processes in the minds of musicians (both composers and performers) and the audiences in pursuit of a new poetics and new musical language. The context of the interpretations broadens the researcher’s interest to include such significant figures of postmodernism as Helmut Lachenmann, Gèrard Grisey and the spectralists, as well as Arvo Pärt’s “metaphorical” (by the composer’s definition) style. In this compelling book three main objects are clearly delineated. Dimiter Christoff’s oeuvre (unstudied for the time being, especially in the period after the 1990s) is treated by using the theoretical concepts of the “imaginary unilinearity” and sound archetypes. In her study on Vladimir Panchev’s opuses in the second part of the book, Elisaveta Valchinova-Chendova presents an ingenious and multilayered interpretation of our renowned Vienna-based compatriot, where the concept of a new sound sensuousness is applied to the ideas of the musicalcitational, which the author adopts as a basis for expressing the spiritual content of the archetypal. In the third chapter, Gheorghi Arnaoudov: Re-interpretation of Sound – Sound Models and Approaches, her text moves from exploring Gheorghi Arnaoudov’s verbally expressed concept of sound (phons) and the term “reinterpretation”, adopted in his compositional approach through the types of writing formulated by Elisaveta Valchinova-Chendova: ritual; reconstructed past; packed past; a transforming model in different intersected sound spaces; complex, visual image; semantically integrating process. The author has found in her book a view which is different from what is known in both the musical theoretical and musical historical tradition: she succeeds in presenting the complex texture of her idea of the “new sound sensuousness” in extensive and innovative studies on the three authors.

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