This article’s author introduces the term “space diagonal”. It is interpreted as a real space in music communication, sending out a particular message. The performer observes, awaits, sums up and concludes sound space; its path, modeled by acoustic waves, bringing on genesis, superposition, stratification and degradation. Performer’s reflex is constantly engaged with sound event’s continuous record, with relation to both past and future. This process drafts a tight net of diagonal lines, marking sound’s vertical and horizontal points. Thus, “diagonal space” refers directly to a space with most interpretation activity.
Thus, an analogy is sought, between diagonal motion and the real and artistic world, defining diagonal action as the most active one.
Dimitar Hristov’s innovative musical language includes non-standard features: obertone (sound particle) pedal, finger pedal, non-measure notation – bringing connections to the new term. It is presented in this study in both theoretical and interpretational aspect, mirroring Nedelcheva’s long involvement with Dimitar Hristov’s music interpretation.