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Books by Andrei Pogorilowski
""A Parisian drugstore owner (André Pogoriloffsky), a man in his early fifties, who is also a ski... more ""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.
*********************
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" (ARARAT Publishing House, Bucharest, bilingual edition Romanian/English, ISBN 973-96682-0-8).
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.
The author is currently living in his hometown, Bucharest, along with his wife Simona and his nine years old daughter Ina.
***********************
Facebook:
https://www.facebook.com/Temporalists
Reviews:
http://www.amazon.com/The-music-Temporalists-André-Pogoriloffsky/product-reviews/1480253871
http://www.arteidolia.com/pogoriloffsky-time-outside-patrick-brennan/
A Parisian drugstore owner (André Pogoriloffsky), a man in his early fifties, who is also a skill... more 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.
*********************
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" (ARARAT Publishing House, Bucharest, bilingual edition Romanian/English, ISBN 973-96682-0-8).
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.
The author is currently living in his hometown, Bucharest, along with his wife Simona and his nine years old daughter Ina.
***********************
Facebook:
https://www.facebook.com/Temporalists
Amazon reviews:
http://www.amazon.com/The-music-Temporalists-André-Pogoriloffsky/product-reviews/1480253871
http://www.amazon.co.uk/The-music-Temporalists-André-Pogoriloffsky/product-reviews/1480253871
Poster:
http://www.bfe.org.uk/resources/posterTemporalists.pdf
Un patron parizian de farmacie (André Pogoriloffsky), în vârsta de cincizeci si ceva de ani, care... more Un patron parizian de farmacie (André Pogoriloffsky), în vârsta de cincizeci si ceva de ani, care este si un pianist amator de o oarecare anvergura, calatoreste mental, vreme de circa doi ani, într-o lume paralela, sub forma unui avatar. Afla, acolo, ca de fapt a fost „importat“ cu buna stiinta pentru a i se preda bazele teoriei muzicale a muzicii culte din lumea temporalistilor. Este mereu însotit de un muzician local care cunoaste traditia muzicala europeana (Jean-Philippe) si, pentru o vreme, initiat de un batrân psiholog (Herr Sch… etc.) în resorturile cognitive ale teoriei muzicale temporaliste. Cei doi îl roaga pe Pogoriloffsky sa memoreze cât mai bine ceea ce i se preda si, la întoarcere, sa transcrie tot ce va putea tine minte. Pentru ca muzica temporalista în ansamblul ei sa îi devina familiara, Pogoriloffsky este purtat vreme de doi ani prin nenumarate scoli de muzica, conservatoare, biblioteci, sali de auditie si de concert sau lasat sa asiste la conferinte pe teme muzicale. Prin urmare, „Muzica temporalistilor“ este descrierea unei calatorii într-o civilizatie paralela, populata de oameni ca noi, care însa au cultivat arta muzicii ca „arta a timpului“ si nu ca „arta a sunetelor“. Pogoriloffsky face o prezentare cât se poate de onesta a lucrurilor învatate, vazute si traite acolo, încercând sa nu-si dezamageasca mentorii. Din acest motiv, el se rezuma la descrierea teoriei, pedagogiei si practicii muzicale temporaliste, lasând nepovestite lucrurile care tin de ineditul lumii în care i-a fost dat sa traiasca vreme de doi ani.
+++++++++++++++++
Facebook:
https://www.facebook.com/Temporalists
Amazon reviews:
http://www.amazon.com/The-music-Temporalists-André-Pogoriloffsky/product-reviews/1480253871
http://www.amazon.co.uk/The-music-Temporalists-André-Pogoriloffsky/product-reviews/1480253871
Poster:
http://www.bfe.org.uk/resources/posterTemporalists.pdf
Lucrarea Veronei Maier este, în esenta, rodul fuziunii teoriei pragurilor perceptuale temporale d... more Lucrarea Veronei Maier este, în esenta, rodul fuziunii teoriei pragurilor perceptuale temporale din muzicologia cognitiva cu studiile în domeniul ritmicii bachiene elaborate de muzicologul israelian Ido Abravaya. — Andrei Pogorilowski —
Papers by Andrei Pogorilowski
The cyborg handbook, 1995
zeuxilogy.home.ro
Before being discovered by Francisco Pizzaro, the Incas managed to build at least 23,000 kilomete... more Before being discovered by Francisco Pizzaro, the Incas managed to build at least 23,000 kilometers of roads but missed to invent the wheel. This historical fact made me think that it might be precisely due to their unquestionable value that, sometimes, important, useful discoveries, postpone the quest for other viable alternatives to themselves: "what's the use of a wheel as long as we have good roads?", one may ask.
VII International Symposium on Systematic and Comparative Musicology, University of Jyväskylä, Finland, 2001
The moment two isochronous tempi… (1) …within a temporal scope familiar to musical practice and t... more The moment two isochronous tempi… (1) …within a temporal scope familiar to musical practice and to functional perception/production of discrete time (e.g. IOI between (Michon, 1964) ≈ 100 and ≈ 700ms);
Book Reviews by Andrei Pogorilowski
Die neue musikzeitung, 2022
Acotaciones: la música en la ciencia ficción (3A): La música de los Temporalistas Publicado el ab... more Acotaciones: la música en la ciencia ficción (3A): La música de los Temporalistas Publicado el abril 16, 2019abril 16, 2019 por carlphilipp Acabo de terminar este libro. Debo confesar que no estoy muy seguro de lo que he leído. Quizá lo mejor sea que lo describa. André, una persona de buena posición económica y aficionado al piano es mentalmente abducido por los Temporalistas, que son humanoides, posiblemente de una realidad alternativa. El motivo del secuestro, es, ni más ni menos, que enseñarle su teoría musical, para que la lleve a nuestro planeta. Al comienzo del libro nos enteramos de que en esa otra realidad la gente es casi insensible al sonido en sí mismo, pero enormemente precisos en cuanto a las duraciones. Tanto es así que su lenguaje hablado admite casi cualquier contenido en vocales y consonantes siempre y cuando se respeten las duraciones adecuadas de las sílabas. También nos enteramos que una de las profesiones más reputadas de ese mundo es la de psicólogo cognitivista. Rama del saber que es, por cierto, la más avanzada en el estudio de la música. Los Temporalistas acceden mentalmente al uso de cuerpos de terrestres que no tienen capacidades mentales plenas, y gracias a ello estudian la teoría musical terrestre. Muy para su sorpresa, descubren que no sirve de mucho sin la correspondiente experiencia auditiva. Varios de ellos la adquieren y pronto nuestra música adquiere gran aceptación. Poco a poco se va desarrollando la sensibilidad al sonido. Bach (insistentemente), Messiaen y Scriabin son los autores más veces citados en el libro. En justa reciprocidad adiestran a André en su música, mucho más basada en el tiempo y la duración que en el sonido, y desde luego alejada del pulso regular. Gran parte del libro es una exposición sistemática de esta teoría, que en ningún caso se puede decir que sea trivial. Dudo de que nadie que no sea profesional con cierta especialización y conocimientos de músicas de muchas culturas y épocas la pueda seguir con facilidad. De hecho aparecen también posibles notaciones para esas obras. Por cierto, las referencias a la psicología y el cognitivismo no son escasas, El libro, supongo que para restar aridez, está de vez en cuando interrumpido por anécdotas. Por ejemplo André enseña a fumar a los Temporalistas. MEN Ú
Theory of Music Blog, 2019
Neue Musikzeitung, 2016
Sometimes there are books that are impossible to categorize and impossible to describe. André Pog... more Sometimes there are books that are impossible to categorize and impossible to describe. André Pogoriloffsky’s “The Music of the Temporalists” is such a book. I have read it, and I honestly cannot say what it is (is it a travelogue? A science fiction novel? A true account? A literary experiment? A treatise on music?), but I can assure you that it is a fascinating read.
Several years ago I got an email by the author (who I don’t know), notifying me of the electronic edition of the book (and that’s the only edition I have). For a long time the book stayed unread on my kindle app. I have to admit that a lot of people try to convince me to read/listen/notice stuff, so a certain kind of jadedness on my part may be forgiven. Or not.
At some point though curiosity got the better of me, and I began to read.
Arteidolia, May 2014
The Music of the Temporalists adopts a strategy kin with Jonathan Swift’s Gulliver’s Travels or E... more The Music of the Temporalists adopts a strategy kin with Jonathan Swift’s Gulliver’s Travels or Edwin Abbott’s Flatland: A Romance of Many Dimensions, which is to invent a fantasy or sci-fi environment so as to more fluidly talk “outside the box” about something misunderstood, ignored or suppressed in the “real world.” A piano playing Parisian pharmacist happens to catnap unsuspectingly into a parallel human world that constructs music on the basis of intervals of time rather than intervals among pitches. A dreamtime of two years takes him through a crash course in their music and its theoretical frameworks. The author’s choice of such a format gives me an impression that his considerations have been meeting with more resistance and incredulity than he’d really appreciate. But, while his musical ideas may not be conventional in terms of his milieu, in no way are they crazy.
""A Parisian drugstore owner (André Pogoriloffsky), a man in his early fifties, who is also a ski... more ""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.
*********************
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" (ARARAT Publishing House, Bucharest, bilingual edition Romanian/English, ISBN 973-96682-0-8).
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.
The author is currently living in his hometown, Bucharest, along with his wife Simona and his nine years old daughter Ina.
***********************
Facebook:
https://www.facebook.com/Temporalists
Reviews:
http://www.amazon.com/The-music-Temporalists-André-Pogoriloffsky/product-reviews/1480253871
http://www.arteidolia.com/pogoriloffsky-time-outside-patrick-brennan/
A Parisian drugstore owner (André Pogoriloffsky), a man in his early fifties, who is also a skill... more 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.
*********************
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" (ARARAT Publishing House, Bucharest, bilingual edition Romanian/English, ISBN 973-96682-0-8).
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.
The author is currently living in his hometown, Bucharest, along with his wife Simona and his nine years old daughter Ina.
***********************
Facebook:
https://www.facebook.com/Temporalists
Amazon reviews:
http://www.amazon.com/The-music-Temporalists-André-Pogoriloffsky/product-reviews/1480253871
http://www.amazon.co.uk/The-music-Temporalists-André-Pogoriloffsky/product-reviews/1480253871
Poster:
http://www.bfe.org.uk/resources/posterTemporalists.pdf
Un patron parizian de farmacie (André Pogoriloffsky), în vârsta de cincizeci si ceva de ani, care... more Un patron parizian de farmacie (André Pogoriloffsky), în vârsta de cincizeci si ceva de ani, care este si un pianist amator de o oarecare anvergura, calatoreste mental, vreme de circa doi ani, într-o lume paralela, sub forma unui avatar. Afla, acolo, ca de fapt a fost „importat“ cu buna stiinta pentru a i se preda bazele teoriei muzicale a muzicii culte din lumea temporalistilor. Este mereu însotit de un muzician local care cunoaste traditia muzicala europeana (Jean-Philippe) si, pentru o vreme, initiat de un batrân psiholog (Herr Sch… etc.) în resorturile cognitive ale teoriei muzicale temporaliste. Cei doi îl roaga pe Pogoriloffsky sa memoreze cât mai bine ceea ce i se preda si, la întoarcere, sa transcrie tot ce va putea tine minte. Pentru ca muzica temporalista în ansamblul ei sa îi devina familiara, Pogoriloffsky este purtat vreme de doi ani prin nenumarate scoli de muzica, conservatoare, biblioteci, sali de auditie si de concert sau lasat sa asiste la conferinte pe teme muzicale. Prin urmare, „Muzica temporalistilor“ este descrierea unei calatorii într-o civilizatie paralela, populata de oameni ca noi, care însa au cultivat arta muzicii ca „arta a timpului“ si nu ca „arta a sunetelor“. Pogoriloffsky face o prezentare cât se poate de onesta a lucrurilor învatate, vazute si traite acolo, încercând sa nu-si dezamageasca mentorii. Din acest motiv, el se rezuma la descrierea teoriei, pedagogiei si practicii muzicale temporaliste, lasând nepovestite lucrurile care tin de ineditul lumii în care i-a fost dat sa traiasca vreme de doi ani.
+++++++++++++++++
Facebook:
https://www.facebook.com/Temporalists
Amazon reviews:
http://www.amazon.com/The-music-Temporalists-André-Pogoriloffsky/product-reviews/1480253871
http://www.amazon.co.uk/The-music-Temporalists-André-Pogoriloffsky/product-reviews/1480253871
Poster:
http://www.bfe.org.uk/resources/posterTemporalists.pdf
Lucrarea Veronei Maier este, în esenta, rodul fuziunii teoriei pragurilor perceptuale temporale d... more Lucrarea Veronei Maier este, în esenta, rodul fuziunii teoriei pragurilor perceptuale temporale din muzicologia cognitiva cu studiile în domeniul ritmicii bachiene elaborate de muzicologul israelian Ido Abravaya. — Andrei Pogorilowski —
The cyborg handbook, 1995
zeuxilogy.home.ro
Before being discovered by Francisco Pizzaro, the Incas managed to build at least 23,000 kilomete... more Before being discovered by Francisco Pizzaro, the Incas managed to build at least 23,000 kilometers of roads but missed to invent the wheel. This historical fact made me think that it might be precisely due to their unquestionable value that, sometimes, important, useful discoveries, postpone the quest for other viable alternatives to themselves: "what's the use of a wheel as long as we have good roads?", one may ask.
VII International Symposium on Systematic and Comparative Musicology, University of Jyväskylä, Finland, 2001
The moment two isochronous tempi… (1) …within a temporal scope familiar to musical practice and t... more The moment two isochronous tempi… (1) …within a temporal scope familiar to musical practice and to functional perception/production of discrete time (e.g. IOI between (Michon, 1964) ≈ 100 and ≈ 700ms);
Die neue musikzeitung, 2022
Acotaciones: la música en la ciencia ficción (3A): La música de los Temporalistas Publicado el ab... more Acotaciones: la música en la ciencia ficción (3A): La música de los Temporalistas Publicado el abril 16, 2019abril 16, 2019 por carlphilipp Acabo de terminar este libro. Debo confesar que no estoy muy seguro de lo que he leído. Quizá lo mejor sea que lo describa. André, una persona de buena posición económica y aficionado al piano es mentalmente abducido por los Temporalistas, que son humanoides, posiblemente de una realidad alternativa. El motivo del secuestro, es, ni más ni menos, que enseñarle su teoría musical, para que la lleve a nuestro planeta. Al comienzo del libro nos enteramos de que en esa otra realidad la gente es casi insensible al sonido en sí mismo, pero enormemente precisos en cuanto a las duraciones. Tanto es así que su lenguaje hablado admite casi cualquier contenido en vocales y consonantes siempre y cuando se respeten las duraciones adecuadas de las sílabas. También nos enteramos que una de las profesiones más reputadas de ese mundo es la de psicólogo cognitivista. Rama del saber que es, por cierto, la más avanzada en el estudio de la música. Los Temporalistas acceden mentalmente al uso de cuerpos de terrestres que no tienen capacidades mentales plenas, y gracias a ello estudian la teoría musical terrestre. Muy para su sorpresa, descubren que no sirve de mucho sin la correspondiente experiencia auditiva. Varios de ellos la adquieren y pronto nuestra música adquiere gran aceptación. Poco a poco se va desarrollando la sensibilidad al sonido. Bach (insistentemente), Messiaen y Scriabin son los autores más veces citados en el libro. En justa reciprocidad adiestran a André en su música, mucho más basada en el tiempo y la duración que en el sonido, y desde luego alejada del pulso regular. Gran parte del libro es una exposición sistemática de esta teoría, que en ningún caso se puede decir que sea trivial. Dudo de que nadie que no sea profesional con cierta especialización y conocimientos de músicas de muchas culturas y épocas la pueda seguir con facilidad. De hecho aparecen también posibles notaciones para esas obras. Por cierto, las referencias a la psicología y el cognitivismo no son escasas, El libro, supongo que para restar aridez, está de vez en cuando interrumpido por anécdotas. Por ejemplo André enseña a fumar a los Temporalistas. MEN Ú
Theory of Music Blog, 2019
Neue Musikzeitung, 2016
Sometimes there are books that are impossible to categorize and impossible to describe. André Pog... more Sometimes there are books that are impossible to categorize and impossible to describe. André Pogoriloffsky’s “The Music of the Temporalists” is such a book. I have read it, and I honestly cannot say what it is (is it a travelogue? A science fiction novel? A true account? A literary experiment? A treatise on music?), but I can assure you that it is a fascinating read.
Several years ago I got an email by the author (who I don’t know), notifying me of the electronic edition of the book (and that’s the only edition I have). For a long time the book stayed unread on my kindle app. I have to admit that a lot of people try to convince me to read/listen/notice stuff, so a certain kind of jadedness on my part may be forgiven. Or not.
At some point though curiosity got the better of me, and I began to read.
Arteidolia, May 2014
The Music of the Temporalists adopts a strategy kin with Jonathan Swift’s Gulliver’s Travels or E... more The Music of the Temporalists adopts a strategy kin with Jonathan Swift’s Gulliver’s Travels or Edwin Abbott’s Flatland: A Romance of Many Dimensions, which is to invent a fantasy or sci-fi environment so as to more fluidly talk “outside the box” about something misunderstood, ignored or suppressed in the “real world.” A piano playing Parisian pharmacist happens to catnap unsuspectingly into a parallel human world that constructs music on the basis of intervals of time rather than intervals among pitches. A dreamtime of two years takes him through a crash course in their music and its theoretical frameworks. The author’s choice of such a format gives me an impression that his considerations have been meeting with more resistance and incredulity than he’d really appreciate. But, while his musical ideas may not be conventional in terms of his milieu, in no way are they crazy.
Morgenbladet, 2015
Laurie Anderson: «O Superman» Hverken Laurie Anderson eller noen andre kunne spå at den smårare, ... more Laurie Anderson: «O Superman» Hverken Laurie Anderson eller noen andre kunne spå at den smårare, minimalistiske sangen «O Superman (For Massenet)» skulle komme til å bli en hit da den ble sluppet i 1981. Mulig at det var sangens viktigste hook, stemmesampelet «ha» på en enstrøken c (midt på pianoet og midt i taleregisteret) som gjorde susen. Lauries korte «ha» blir liggende og mase i forgrunnen i jevn puls gjennom komposisjonens over åtte minutter, i et tempo som på DJ-språket er omtrent -eller kanskje akkurat -150 BPM, altså slag i minuttet.
ConcertoNet, 2016
Structurally, this is a novel within a novel. Filmgoers of a certain age will note parallels to F... more Structurally, this is a novel within a novel. Filmgoers of a certain age will note parallels to Federico Fellini’s 8½ (1963) and Anthony Newley’s Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? (1969.) Younger ones will find resonance from David Lynch’s Mulholland Drive and Inland Empire. While these movies dealt in part with successful, younger artists experiencing creative blocks and questioning their work and personal lives, Pogoriloffsky’s novel presents a more middle-aged protagonist. In his fifties, the man by day manages an inherited pharmacy in Paris and also is an amateur musician. The story commences in April 2008 when the nameless protagonist falls asleep in an easy chair and is plunged into an elaborate, exotic dream about the music world --- concerts, compositions, composers, commentators, audiences and more. He wakes up two years later and writes a book about his dream, which of course is the one readers of The music of the Temporalists find themselves reading.
filme-carti.ro, 2012
Andrei Pogorilowski isi numeste romanul sau de debut, ‘Cartuse‘, aparut la Editura Cartea Romanea... more Andrei Pogorilowski isi numeste romanul sau de debut, ‘Cartuse‘, aparut la Editura Cartea Romaneasca in 2012 si castigator al Concursului de Debut al editurii pe anul 2011, telenovela literara. Il si insoteste cu promisiunea unor episoade urmatoare si cu o promovare internetica interesanta, care include publicarea de fragmente din carte in mod foilotenizat in blogosfera si o pagina pe Facebook unde este dezvoltat universul cultural si sunt prezentate unele dintre sursele de inspiratie ale cartii.
22, 2013
Fără explicitări și mărturisiri directe, Andrei Pogorilowski ia în glumă, dar pe cont propriu, te... more Fără explicitări și mărturisiri directe, Andrei Pogorilowski ia în glumă, dar pe cont propriu, teme grozav de complicate: cum a fost atunci, cum este acum. Cum a fost / este posibil. Nomenclatură versus trai anonim. Sau, dacă punem și ceva emfază, dictatură versus libertate.
Autor timid, debut lipsit de timiditate. Aceasta ar fi definiția sintetică a lui Andrei Pogorilowski, cu romanul său Cartușe. Este cel mai bun titlu lansat de concursul de debut al editurii Cartea Românească (premiat la ediția din 2011) și cea mai convingătoare intrare în scenă în genul (auto)ficțiune, din ultima vreme.
SemneBune.ro, 2013
Romanul Cartușe al lui Andrei Pogorilowski a câștigat Concursul de debut din cadrul editurii Car... more Romanul Cartușe al lui Andrei Pogorilowski a câștigat Concursul de debut din cadrul editurii Cartea Românească în anul 2011, ca mai apoi să fie publicat în 2012 la aceeași editură. Pasionat de muzică, Andrei Pogorilowski a publicat două cărți care tratează timpurile muzicale: Energii ale timpului muzical (1994) şi The music of the Temporalists (2011). Priceperea sa în domeniul muzicii i-a oferit șansa să scrie articole în Dilema, Idei în dialog, Adevărul literar și artistic, Litere, arte & idei. Scriitorul a bătut la ușile tuturor editurilor din România, însă niciuna nu i-a oferit șansa de a-i publica romanul. Într-un interviu, Pogorilowski susține că romanul Cartușe , împreună cu a doua parte, intitulată Nic Studeno. Al doilea cartuș (Editura Cartea Românească, 2013) sunt primele părți dintr-o trilogie care se vrea a fi o telenovelă literară. Conștient că sexul se vinde în orice formă artistică și că România este o țară fascinată de subiectele de tip can-can, Pogorilowski a încercat să ofere publicului exact ceea ce acesta și-a dorit. Romanul nu numai că nu aparține genului de can-can literar, ci chiar evidențiază un complex de tehnici narative și descriptive așa cum foarte puțini scriitori din România îl au.
filme-carti.ro, 2013
‘Cartea prima este scrisa cu intentia vadita de a crea premizele lui ‘va urma’ si ea se incheie c... more ‘Cartea prima este scrisa cu intentia vadita de a crea premizele lui ‘va urma’ si ea se incheie ca un episod (lovitura de teatru in ultimele pagini, personaje noi introduse in final pentru o dezvoltare ulterioara) si nu ca un final de film si nici macar de sezon. Astept deci episoadele urmatoare.’
Asa imi incheiam recenzia primei carti a lui Andrei Pogorilowski – ‘Cartuse’ – postata cu un an in urma pe filme-carti.ro. Episodul urmator nu s-a lasat intr-adevar prea mult asteptat si, in weekend-ul ce a trecut, am citit cu fervoare ‘Nic Studeno – Al doilea cartus‘, aparuta in 2013 la editura Cartea Romaneasca. Voi incepe prin a spune ca este o carte excelent scrisa, cartea care mi-a produs cea mai mare placere la lectura din tot ce am citit in ultima vreme. Andrei Pogorilowski scrie cursiv si cu talent, cartile sale se citesc cu lejeritate, dar in pofida aparentelor cred ca nu sunt neaparat si lejere in substanta.
România literară, 2012
Andrei Pogorilowski debutează, la 44 de ani, cu un roman hazliu, uşor de citit, având un erou cu ... more Andrei Pogorilowski debutează, la 44 de ani, cu un roman hazliu, uşor de citit, având un erou cu o biografie pasionantă şi un final deschis, ce promite negreşit o urmare. Andrei Pogorilowski are un condei redutabil.
Educaţia sa muzicală se resimte în fraza impecabilă, capabilă să redea tot aşa de bine vorbirea unor copii în plină joacă („Şi acum mă ascundeam între liane iar tu nu ştiai că stau la pîndă şi treceai cu pistolul în mână pe lângă mine iar eu – paaac! – îţi dădeam peste mână...”), conversaţiile pe mess dintre doi tineri contemporani ori gândurile unui bărbat care se străduise inutil să impresioneze o femeie.
Romanul întreg, de altminteri, e alcătuit (sau, mai bine zis: compus) muzical. Amintirile din copilăria lui Vlad petrecută într-un Bucureşti eliadesccă rtărescian sunt contrapunctate de aventurile vârstei adulte, când bărbatul se vede singur şi decide să încerce o relaţie cu o colegă de serviciu, Andreea. Spre finalul romanului, însă, Andrei Pogorilowski dă cărţile pe faţă, intitulându-ş i capitolele de-a dreptul Sonata şi Fuga (a 3 soggetti). Concluzia (de etapă) ar fi că nu doar literatura are structură muzicală, ci viaţa însăşi.
Cultura, 2013
Dupa al doilea sau roman – „Nic Studeno“ – avem câteva certitudini in legatura cu Andrei Pogorilo... more Dupa al doilea sau roman – „Nic Studeno“ – avem câteva certitudini in legatura cu Andrei Pogorilowski. Prima ar fi grija in a-si evalua corect proiectul, interesându-l mijloacele, nu scopul. Stie ce vrea sa faca: o excelenta scriere detectivistica si erotica. Adica un roman-foileton, asa cum recunoaste pe a doua clapeta a cartii: „Am scris acest episod secund al telenovelei mele literare cu sufletul la gura, asteptând sa vad ce s-a mai intâmplat cu Vlad si cu Andreea, eroii primului episod“. A doua confirmare sta in citatul precedent. Prozatorul construieste cinematografic. Infirma insa prejudecata ca povestea ofera consistenta peliculei.
libris.ro, 2012
Tocmai când mă gândeam că și pe la noi literatura începe să semene tot mai mult cu matematica (or... more Tocmai când mă gândeam că și pe la noi literatura începe să semene tot mai mult cu matematica (ori publici ceva până la 30 de ani ca să speri măcar să fi luat în seamă, ori poți să-ți iei adio de la orice dorință de a lăsa vreo urmă în domeniu), dat fiind faptul că de la o vreme încoace, piața a fost luată în primire de o mulțime de autori tineri, am dat peste volumul câștigător al Concursului de Debut al Editurii Cartea Românească. Debutantul din acest an are de două ori vârsta debutantului de anul trecut (Bogdan Coșa, cu romanul Poker) dar el dovedește din plin faptul că mult râvnita calitate de romancier nu se câștigă neapărat la capătul unei opere pregătite din zorii tinereții, a nenumăratelor încercări, ci se poate materializa și la vârste mai înaintate, din prima, atâta timp cât ai suficientă măiestire și imaginație.
The music of the Temporalists, 2011
January 1st, 2020 - my book on musical time theory "The music of the Temporalists" will be availa... more January 1st, 2020 - my book on musical time theory "The music of the Temporalists" will be available for FREE, here:
http://www.amazon.com/dp/B006FWZLSI/
Enjoy the reading!
http://www.allaboutjazz.com/php/profile.php?id=123631
Dilema veche
> 1. How it is for a pianist to play a violin concerto or a string quartette? > 2. How many famo... more > 1. How it is for a pianist to play a violin concerto or a string quartette?
> 2. How many famous musicians use SuperConductor (to your knowledge)?
> Could you name some of them?
> 3. Do you reckon that SuperConductor will create a new "breed" of composers
> or interpreters? And, further on, do you think it is possible that a
> particular "SuperConductor music" to emerge (in time)?
>>
1. For a pianist whose life has centered around the piano, it is a
wonderfully
liberating experinece to perform a violin concerto or string quartet. I have
recently interpreted and recorded all the last 6 quartets of Beethoven, in
many ways the greatest music ever composed. I have redorded the Beethoven
violin cincerto, and all the solo works for violin and for cello by J.S.
Bach, as well as Bach's double violin concerto.
My musical being is expanded and nurished immensely by being able to do this:
it is a dream that I have never even dared to dream before. The beauties of
the music are there to be tapped, it is a wonderful treasure search.
Because one person is able to interpret and perform the entire work, it
brings far greater harmony into the interpretation. There is no compromise
between a conductor and a soloist, there is no copromise between the four
members of the quartetto arrive at a mutually satisfactory interpretation. The
composer has imagined the work himself, in a unitary concept. He hears it in
his imagination, not in four different imaginations simultaneously. By having
a concept of the work, the interpreter and performer with Superconductor can
work to realie that concept to the degree of perfection that he wants.
That of course includes the perfection of note playing, of being in tune, of
balance, the externals of performnace. But far more importantly it includes
the meaning of the music, to perfect the emotional content of the work in its
full power and authority. It means conviction without exaggeration, it means
natural phrasing, in the way Casals taught so eloquently. It means freedom to
be the musician that you can be without fear, nervousness, fatigue, and
physical limitation. It means the ability to grow as a musician, in a way
that has never been possible before. And it also means learning many aspects
of music, and of a given piece, subtleties that can then be used to important
advantage in one's own performance on the piano or violin, whatever one's own
instrument is.
One of the difficult things to achieve for a musican is to give the music
complete continuity, without "dead spots". SuperConductor provides this
continuity, the big line, unfailingly. That is one of its most marvelous
gifts to music.
Of course, the musician has to have his concept of a piece, the program
doesnot provide this for him. but working with the conmputer in this way,
refines and develops his concept, more and more.
Unlike a musician who performs and records, with SuperConductor you can
improve the performance without "erasing" what you have done before. As a
result, there is a new path before you, an ever increasing perfection, that
leads you to of a life time of interpretation adventure. Perhaps the word
perfection should even be eliminated. Instead, perhaps, the power of
transformation of the mind should be substituted. because great music expands
the mind, and the road to better and better music is synonymous with better
and better understanding, love and compassion - a better humanity in short.
Other question:
Now composers can hear their music without needing live musicians to learn
and perform it. They can let others hear it. This frees the composer
greatly, since he usually has not enough money to rent orchestras and large
halls , or even pay or chamber music performances.He can try many new
combinations of sonorities, wknoing how they will sound in actual
perfomrance. He can learn orchestration in an immediate environment. But
most importantly he can discover his own pulse, and specifiy that now
mahtematically, like music notation is used traditinally.
That means that his onw music will be performed according to his own way. A
good coposer in the past, inthe eightenths and nineteenth century has imbued
his own inner pusel into the music. We love the composer because we know him
intimately throuh his pusle. Without his pulse the music is barren. Even
boring. With his pulse it achieves a presence, which gives us a feeling of
the difference betwen a soulful and and soulless performance. But every sould
of every compser is different. And UsperCOnductor is able to prvide his
difference, as indeed can every outstanding performer. but even great
performers tend to have their own predilections, some play Beethoven well,
some Mozart, or Bach, others Chopin. Seldom do you find an interpeter who is
equally at home with all the great composers. Casals was such a man. But
SuperConductor can led you to the heart of all the composers. Because their
pulse, hierarchically available, can imbue all their music, and because by
varying it you can see how their essence evaporates, and destroys the music,
when not played in the composer's own pulse. In this way you get to
understand your own music too, better, and even who you are as a person.
Because the pulse reveals much about the kind of person you are.
So yes, we can look forward to a new breed composers, for whom their own
music reveals to themselves as well as to others, who they are, more so than
their faces and bodies. And in a strange way, we dont yet fully understand,
the perception on the pulse when linked to the music, lets us love that
person as a unique individual (and that may include in a new sense, the self
love of the composer, making him a happier and better person).
Because of the knowledge of the pulse, art itself is transformed - no longer
is art for art's sake a possibility, it is in music now indelibly linked to
the life source of the individual, we may even conjecture his DNA, as a
living expression of the uniqueness, and as unique qualities of one
individual, who here today, will never return again to the universe, a unique
experiment of the universe.
Manfred Clynes
ArtsEduca, 2016
To start meeting Andrei, we must also know his most recent work. What is the fundamentation of "T... more To start meeting Andrei, we must also know his most recent work. What is the fundamentation of "The music of the Temporalists"?
