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The composition Toba for Symphony Orchestra by Branka Popović, according to the composer's own words, is a piece that "invokes the movement and energy of volcanic activity (...)". Over time it develops as a directed movement, with the reproduction and reduction of texture content. Such a shift of different intensities realised on a kinetic and colorful plane, leads to the constant flickering of the sections and to the creation of a kind of rhythmic texture that retains the melodic and harmonic musical properties. The movement through music time is always accomplished in the same way: a strong impulse of prolongation leads to an intensified texture movement and accumulation of energy that is released in one instant. Such a concept is disrupted at the moment of the intrusion of a contrasting section in which a circular motion occurs that is caused by the appearance of repetition. Not only will the specifics concerning the perception of music time be considered in this composition, when discussing the principle of the construction of temporality and movement. The time flow of the stylistic references of the work neutralised by the appearance of the texture itself indicates the authenticity and the specific stylistic determination of this composition.

Temporality and movement in the composition of 'Toba' by Branka Popović