Time Travel addressed how the combination of different aspects of textural attributes – which are present in different overlapped textural layers – led to the perception of new aspects of gestural motion or new ways of identifying specific soundworlds.
In Time Travel, the presence of a sound textural layer including a harmonious drone under the priest’s voice (9:12 – 10:48) creates the perception of polyphony in the priest’s voice sound textural layer, when what actually happens is that the spectral space occupancy of the harmonious drone textural layer is wider and denser than the one of the priest’s voice textural layer and the tonality centre of the two layers is the same (C minor). In addition, the spectral space occupancy alterations occurring in the harmonious drone textural layer (e.g. 10:09 – 10:17) make this polyphony perception more effective. The perception of polyphony results in the priest’s voice obtaining a more dominant presence and this has an impact in two levels: In terms of cultural context, it enhances the pivotal role of the priest. In terms of the work itself, it provides this section with harmonicity at a polyphonic level; something missing from Byzantine music which is purely monophonic.