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The music of the Temporalists, by André Pogoriloffsky
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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.
- Sales Rank: #563495 in eBooks
- Published on: 2011-11-28
- Released on: 2011-11-28
- Format: Kindle eBook
Review
Although ostensibly a theoretical text, Pogoriloffsky's book employs a fictional narrative in order to transport the reader to a place where their assumptions might be experienced without bias. As the book's protagonist, he is initiated in the world of the 'Temporalists' in a manner reminiscent of Borges. Here, the reader encounters a world that mirrors ours, albeit with some important musical differences. In taking this imagined world to the realm of the absurd, Pogoriloffsky creates a vehicle for understanding a specific idea in our world.
-- Sean Lowry
academia.edu/7506760/Are_We_There_Yet
Pogorilowski's musical conceptions clearly come across as hard earned, serious and very well considered. The man has really done his homework, and the book's accompanying bibliography could keep you reading for a good couple of years. It offers a great resource. Pogorilowski's contribution adds a systematic bent that might encourage & enable musicians to more deliberately cultivate time in new ways in their own work.
-- Patrick Brennan (Arteidolia)
arteidolia.com/pogoriloffsky-time-outside-patrick-brennan/
Very thoroughly researched and well presented. This book opens up a world of, as yet, untapped compositional possibilities. If nothing else, the authors exhaustive research into the psychological perception of music, rhythm and tempo, makes this book worth a read. The theoretical discipline of western 'classical' music is perhaps a little guilty of having focussed too much on the harmony side of music with a distinct lack of treatises on rhythm, tempo and time. Here's one book that seeks to address the balance.
-- Cliff Bradley (composer)
cliffbradleymusic.com/music/home.html
This interesting book describes a journey into a parallel world that is populated with humans who just happened to have cultivated music as "the art of time" and not as "the art of sounds". It's a fascinating fantasy world sure to engage any musician or music learner!
-- Eugene Cantera (dlp Music Program)
Every now and then a creative different look at something we think we really know comes along. "The music of the Temporalists" book qualifies in the different-creative-way category of music theory books.
-- Mark Polishook (pianist)
Within an imaginary frame an alternative to the classical bar-rhythm theory is proposed, based on an empirical study of key phenomena of temporal discretization, including entrainment, chunking, subjective accentuation, pulsatory inertia, and temporal gap perception.
-- Jadranka Vazanova (Senior editor - Répertoire International de Littérature Musicale)
bibliolore.org/2014/01/08/the-music-of-the-temporalists/
What if Western music understanding was developed to emphasize pulse and tempi rather than melodies and harmonies? What if there were a common, constructed understood speeds or tempos at the same level as octave division into twelve equal intervals, carved in stone of Bach's "The Well-Tempered Clavier"? This has André Pogoriloffsky tried to find out in the fresh book "The Music of the Temporalists".
-- Maja Solveig Kjelstrup Ratkje (ratkje.no/2015/06/temporalistene/)
[…] this is a remarkable book, combining weird fiction, musicology, and acoustical science; truly one of a kind. Enjoyable and recommended for all.
James J. O'Meara (If You Could See What I Hear:
The “Music” of “André Pogoriloffsky” – www.counter-currents.com/2015/10/if-you-could-see-what-i-hear/)
The author clearly has a strong, idiosyncratic thesis underlying his work; however, it painfully lacks the skills to organize and elaborate his vision with clarity or cohesion.
-- Charles Pope Jr.
(ConcertoNet – www.concertonet.com/scripts/livres.php?ID_cd=3648)
This book is worth reading. Unique and highly creative, the author blends investigative music theory with fiction in an arresting way.
-- Franklin Stöver (Composer/Orchestrator/Lexicographer)
From the Author
* Cheapest pocket size edition (under $14) available here: createspace.com/5254017 (discount code - $6 off: SGMFVXEG).* The book may also be borrowed, for free, through the Amazon Prime program:amazon.com/gp/prime* As the book is self-translated, the author is seeking for a native English speaker willing to proof read it. If interested, please mail to pogorilowski@gmail.com.
From the Back Cover
Pogorilowski's musical conceptions clearly come across as hard earned, serious and very well considered. The man has really done his homework, and the book's accompanying bibliography could keep you reading for a good couple of years. It offers a great resource. Pogorilowski's contribution adds a systematic bent that might encourage & enable musicians to more deliberately cultivate time in new ways in their own work.
-- Patrick Brennan (Arteidolia)
Very thoroughly researched and well presented. This book opens up a world of, as yet, untapped compositional possibilities. If nothing else, the authors exhaustive research into the psychological perception of music, rhythm and tempo, makes this book worth a read. The theoretical discipline of western 'classical' music is perhaps a little guilty of having focussed too much on the harmony side of music with a distinct lack of treatises on rhythm, tempo and time. Here's one book that seeks to address the balance.
-- Cliff Bradley (composer)
Very curious and refreshing to meet a new look upon the western music theory world. I am well trained in music theory, but I still got a lot of eye-openers and surprises in this book. The writing has a good balance between complex music theory and some good-humored stories. Brilliant book - highly recommended!
-- Terje Winther (composer)
Every now and then a creative different look at something we think we really know comes along. "The music of the Temporalists" book qualifies in the different‑creative‑way category of music theory books.
-- Mark Polishook (pianist)
[...] this is a remarkable book, combining weird fi ction, musicology, and acoustical science; truly one of a kind. Since most readers will fi nd the long sections on acoustic phenomena as good as jibberjabber anyway, it took a special kind of genius to decide to present it in the context of a Lovecraftian journey [...]. Enjoyable and recommended for all.-- James J. O'Meara
(If You Could See What I Hear: The "Music" of "André Pogoriloffsky")
Most helpful customer reviews
16 of 18 people found the following review helpful.
The neglected side of musical rhythm
By Stephen Malinowski
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?"
6 of 6 people found the following review helpful.
Fascinating and truly unique!
By Cortaigne
Though I've never met the man, I'm pretty sure Andrei Pogorilowski wrote this book just for me. A nonstandard music theory based on real-world science, presented as the standard music theory of a fictional alternate world? The premise is so perfect, I couldn't resist, and the book is everything I'd hoped for and more. This alternate world, where rhythm is as central to their music as pitch is to ours, even has a history featuring a conflict between a more naturalistic system (which seems to me analogous to just intonation) and a rigidly quantized system (analogous to equal temperament). I'd say I couldn't put the book down, but that isn't actually true, because as I was reading I couldn't help but stop and work at the computer to try out the many new musical ideas the book was giving me, to actually hear the changes in perception as thresholds of pulse speed are crossed. Embedding this theory in the context of a science fiction story keeps it from being just another dry, quickly disregarded academic text -- and as a fan of H.P. Lovecraft, Robert W. Chambers, William Hope Hodgson, Arthur Machen, and others in that vein of old weird fiction, having long wondered what "the music of Erich Zann" could have actually sounded like, the idea of a whole new music theory from a world apart from our own speaks directly to my tastes. I'd highly recommend this book to anyone interested!
10 of 12 people found the following review helpful.
Music of the Temporalists
By Schell
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!
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