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/)
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)
What is fascinating about the “Music of the Temporalists” is the fact that it might be the first truly musical imaginary novel in the history of literature. As a literary experiment this is a unique and wondrous experience to read.
— Moritz Eggert (Neue Musikzeitung)
From the Inside Flap
1st Prize InterArtia AwardNov. 2016 (Music Literature category)artsociety.gr/competitionsresults.html
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”)
The book is well-researched and includes a list of 53 real-life scientific reference sources concerning music, time, psychology, and the human brain, and will appeal to readers interested in various aspects of music theory. The temporal theory discussions get deep quickly.
— Bruce McCollum (musicweb-international.com)
About the Author
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”. – 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 daughter Ina.
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