|
OTACÍLIO MELGAÇO C o m p o s e r, A r r a n g e r, M u l t i i n s t r u m e n t a l i s t, S i n g e r (b e s i d e s P l a y w r i g h t, S c r i p t w r i t e r, P h o t o g r a p h e r, F i l m d i r e c t o r, C h o r e o g r a p h e r, S c u l p t o r, W e b d e s i g n e r...) o r i g i n a t i n g f r o m M i n a s G e r a i s S t a t e, B r a z i l.
"Only the
Creation of the Artist M e l g a ç o a l s o d e v e l o p s a r t i s t i c p r o j e c t s i n t h e f o l l o w i n g n i c h e s: plays photography videoart movies sculpture dance KissYouMindlyO.M.'sBrotherhoodByW,F. Below, resonant Works, reviews and links for several O.M.'s sites
DESIDERIUM (Brazilian popular music in prominence) I Prelúdio & II Tão Perto, Tão Longe III Prelúdio & IV Orquidário VI ¡Ay Narciso! VII Prelúdio & VIII Oracíon por El-Amor-Brujo IX Prelúdio & X Orpheu do Samba XI Paisagem de Ti XII Jardim das Quatro Estações XIII Soneto da Lua Gris XIV Prelúdio & XV Rosa dos Ventos XVI Prelúdio & XVII Oratório XVIII Prelúdio & XIX Marrakech XX Le Guide XXI Prelúdio & XXII Kiss Your Mind (bônus) Total
time: 01:14:00 O
t a c í l i o M e l g a ç o
O NOME DO ROSA (Desiderium EP, new versions) I Prel. Oracíon Por El-Amor-Brujo IV Sereias das Sete Saudades V Prel. Tão Perto, Tão Longe Total Time: 00:21:42 Compositions, Poetries, Voices, Instruments, Remisturas, Art: O t a c í l i o M e l g a ç o Studio Yoknapotawpha
VEREDAS MORTAS (Suite originally for 10 Strings Guitar, Percussion, Accordion, Piano, Trombone, Bass-Clarinet. Closes the initiate trilogy with Desiderium and O Nome do Rosa. The instrumental feature) II Angical III Vau da Boiada IV
Serra do Rompe Gibão V Brejo dos Mártires VI Tamanduá-tão VII
Paredão VIII Passo-da-Areia IX Vão do Buraco X Condado XI Chapadão XII
Serra das Araras XIII Serra das Almas XIV
Liso do Sussuarão XV Cabeceira de Vereda – Buritis Altos – Serra dos Gerais – Santa Catarina ou U m a P e d r a d e T o p á z i o p a r a O t a c í l i a Total Time: 00:54:11 Composition, Arrangement, Instrumentation: O t a c í l i o M e l g a ç o Final art: O.M. (La Luna) Studio Yoknapotawpha
MÚSICA PARA CAMALEÕES (Stabat Mater Afro-Contemporary for Strings, Percussion and electronic elements) II Fluxus III Mahavishnu V Grosz VI
Hierogramos VII
Cão Com
Plumas
VIII Baloiçando ao Ventainhar em Casa de Chá do Luar de Maio, Lustre d'Índigas Pedrinhas Total Time: 00:53:59 Composition / Mixes: O t a c í l i o M e l g a ç o Instrumentation: cO.Mbo Art-Iinterferences: Wheler, Sir George Studio: Yoknapotawpha
DU SPIRITUEL DANS L'ART (DER BLAUE REITER - MELGAÇO'S MUSIC PROJECT) (From Contemporary Electronic Music to the E-Music / Two Cds) CD I B
a u h a u s 1
Pequeno Sonho em Vermelho ou Morango Silvestre 2
No Azul ou
O Lugar Em Questão 3
Capricho 4
Teatro De Marionetes ou O
Saltimbanco 5
O Peixe Dourado 7
Pequenos Mundos ou Alguns Círcujos
ou Separação À Noite 8
Harmonia De Retângulos Em
Vermelho, Amarelo, Azul, Branco E Preto ou Raio
Colorido 9
Ela Berra, Nós Brincamoa ou
Tem Cabeça, Mãos, Pés E Coração ou A
Máquina De Chilrear 10
Príncipe Negro Total Time Bauhaus: 01:15:18 CD II D
e S t i j l 1 Composição Com Superfícies Coloridas 2
Composição 3
Composição Com Traços
Amarelos 4
Composição Com Traços
Cinzas 5 Composição Com Traços Negros 6 Composição No Tabuleiro De Damas, Com
Cores Escuras - Autoretrato 7
Composição Com
Vermelho 8
Rosa Branca Num Copo 9
Victory Boogie-Woogie + 10
Composição Com
Azul Total Time De Stijl: 01:16:24 Composition / Instrumentation / Arrange / Mixes / Transcriofixação: O t a c í l i o M e l g a ç o Interpretations: O.M. and his Crafts'n'Arts Ensemble Yoknapotawpha Studio
MORT PEUT DANSER -
Pour Spetacle de Ballet - One Track - Total Time: 00:54:49 Dedicated work Vaslav Nijinsky and Kazuo Ohno Composition / Instrumentation /Arrange / Mixes / Transcriofixação / Art: O t a c í l i o M e l g a ç o Images: Dürer Studio Yoknapotawpha
MINOTAUROMANCIA (Debut in this gender. Flirts with countless cultures) Opus I (a M. Nardy) Opus III (a Yoko O.) Opus IV (a Anthony B.) Opus V (a E. Figueira de Melo) Opus VI (a Pablo P.) Opus VII (a Ryuichi S.) Opus VIII (a James Patrick P.) Opus IX (a Heitor V.-L..) Opus X (a Anton W.) Opus XI (a John C.) Opus XIII (a Karlheinz S.) Opus XIV (a João G.R.) Opus XV (a Cocteau T.) Total Time: 01:19:17 Composition / Instrumentation / Arrange / Mixes / Transcriofixação / Art: O t a c í l i o M e l g a ç o Special guests: Zycluz Quartett Amedeo Rizzi Célestine Alavoine Alavoine Nausícaaa Ensemble Studio Yoknapotawpha + Euromobile
SALOMÉ (Second cd. With more scholastic airs. Are
verified with more clarity the concrete languages, electronics...) Opus von Salomé,Gustav Opus Rée,Paul Opus Wagner,Richard Opus Andréas,Carl Opus Freud,Sigmund Opus Jung,Carl Gustav Opus Tausk,Victor a Ljolia von Salomé (1861 – 1937) (bônus) Total Time: 01:19:08 Composition / Instrumentation / Arrange / Mixes / Transcriofixação / Art: O t a c í l i o M e l g a ç o Special guests: Zycluz Quartett, Nausícaaa Ensemble Studio Yoknapotawpha + Euromobile
ALEPH (StringsOctets) I Maasse Bereshit II
Gan Eden IV Kotel Hamaaravi V
Korban VI Chevra Kadisha VII Guilgul Neshamot * ( Ludwig Van Beethoven: Streichquartett Nr.15 a-moll, Op.132, III - Molto Adagio - Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart Melgacian Variations) Total Time: 00:58:57 Composition / Arrange / Mixes / Transcriofixação / Art: O t a c í l i o M e l g a ç o Special guests: Zycluz Quartett Studio Yoknapotawpha + Euromobile
OMNIA VINCIT AMOR (5 Liturgical pieces for Organ) I in Solido III
in Spiritualibus V
in Speciem Total Time: 00:43:38 Composition / Instrumentation / Arrange / Mixes / Transcriofixação / Art: O t a c í l i o M e l g a ç o Images: Redon Studio Yoknapotawpha + Euromobile Live
in Viitasaari, Finland
CARNIVÀLE (Piece for Percussion in 7 "Actions") One Track -Total Time: 00:55:04 Composition / Instrumentation / Arrange / Mixes / Transcriofixação / Art: O t a c í l i o M e l g a ç o Images: Murillo Studio Yoknapotawpha + Euromobile
BLOOMSDAY (Resonant Poetry) One Track (Trilogical: Telemaquia Odisseia Nostos) - Total Time: 00:38:27 - Work dedicated to James Joyce - Composition / Instrumentation / Arrange / Mixes / Transcriofixação / Art: O t a c í l i o M e l g a ç o Studio Yoknapotawpha + Euromobile
MARIENBAD ( 7 or 8 Propositions for Piano) One Track -Total Time: 00:59:37 - Work dedicated to Erik Satie and John Cage - Composition / Instrumentation / Arrange / Mixes / Transcriofixação / Art: O t a c í l i o M e l g a ç o Images:
Bouguereau Studio Yoknapotawpha + Euromobile
SPLEEN (Noises, collages, tape music) II oZ III pancreAtor (ZZZ) IV Zarn! Zoppo Zarn! V ZáZ-Zen parte ii VI ZáZ-Zen parte i VII ZiquiZira Total Time: 01:18:45 Composition / Instrumentation / Arrange / Mixes / Transcriofixação / Art: O t a c í l i o M e l g a ç o Images:
Courbet Studio Yoknapotawpha
AUTO DO DEUS-MENINO (Nativity
Solemnity - One Track - Total Time: 00:33:33 Composition / Voice / Instrumentation / Arrange / Mixes / Transcriofixação / Art: O t a c í l i o M e l g a ç o Images: Blake Studio Yoknapotawpha + Euromobile
I Dark Satanic Mills (D.H.Lawrence/OtacílioMelgaço) II Ode - Intimations of Immortality from Recollections of Early Childhood (WilliamWordsworth/OtacílioMelgaço) III The Rubáiyát (OmarKhayyám/EdwardFitzGerald/OtacílioMelgaço) IV Stanzas for Music (LordByron/OtacílioMelgaço) V Elegy (AleisterCrowley/OtacílioMelgaço) Bonzo's Suite: VI The Little Vagabond (WilliamBlake/OtacílioMelgaço) >live< & VII Spoon River Anthology - Ernest Hyde (EdgarLeeMasters/OtacílioMelgaço) >live< VIII Kiss Your Mind (Otacílio Melgaço) >outtake< Total Time: 00:30:14 Composition / Voice / Instrumentation / Arrange / Mixes / Transcriofixação / Art: O t a c í l i o M e l g a ç o Images: Talbot Estúdio Yoknapotawpha + CanadianMobile
appendix
ÚTERO QUE ENCERRA ÁUREA ERA - TRÍPTICO (Limited edition that contains the Trilogy: Desiderium/O Nome do Rosa/Veredas Mortas. Craft packing, specifies, insert, objects accompany the luxury triad)
GÊMEOS DE COCTEAU (collection) (Collection gathers several remixed Melgaço's pieces) 15 Tracks - Titles in Numeral Roman - Total Time: 01:18:55 Fragments: I & II Composition / Instrumentation / Arrange / Mixes / Transcriofixação / Art: O t a c í l i o M e l g a ç o Studio Yoknapotawpha + Euromobile
CADAVRE EXQUIS ENSEMBLE (Free Music Combo. Otacílio assumes the Piano exclusively. Listen here!)
BAAL DES QUAT'Z'ARTS (Music Experimental Project - Rock, Electronics, Folk, Resonant Poetry... - under O.M. direction - compositions, arrangements, mixtures, design, art) Fragments: II & III
OTACÍLIO MELGAÇO ON OTACÍLIO MELGAÇO "I never found important to link my private person to the art that I engender. The art that I do is the focus. Only my creations should receive spotlights. I am a Babel man. An almost mute Bard, paradoxical and barbaric invader. I am a planetary citizen and hope my 'offsprings' can corroborate that: to be somebody that justifies be called: Human being. Paraphrasing João Guimarães Rosa and Miles Davis, 'Mr. Melgaço only seeks for the third margin of the rivers in his silent way...' Our mutual way?"
l i n k s: MP3 & VIDEOCLIPS O.M. / YOUTUBE SOME LYRICS (IN PORTUGUESE) GALLERY O.M. / Trama O.M. / MySpace O.M. / Multiply O.M.'s Factory O.M. / Orkut O.M. / LastFm O.M. / MTV S o m e s i t e s b u i l t b y O . M . (dedicated to John Mclaughlin in English) (dedicated to Keith Jarret) (dedicated to Miles Davis)
Portal Melgaço / Webdesigner O.M. all rights reserved
OTACÍLIO
MELGAÇO AND THE BRAZILIAN POPULAR MUSIC Singer, instrumentalist, arranger and brazilian composer. Says musical critic Pablo Suarez Paz: "There have been many years since I last heard an artist coming from the so called ‘Brazilian Popular Music’ – and its afluents Bossa Nova, Samba – like Otacílio Melgaço. His esthetical refinement shows an extremely meticulous conceptional caliber, his instrumental audacity is able to coadunate multiplicity and limpidness. He also reveals suprising, rare and polyglot poetic originality. Mr. Melgaço, through his peculiar singing, gets close to a jazz musician such as Chet Baker, exactly for his touching seriousness and concise power only revealed by the vocal inteligence of the main Bossa Nova musicians. Thus, his magnificent sonorous creation is a living prool of how minimalist arty compositions – who encorauges enjoyment can and should contribute to elevate our spirits, that are so filled by the cultural immediatism of our days. In his opening CD, Desiderium, we find ecos of Dorival Caymmi, Cartola, Tom Jobim, João Gilberto, Paulinho da Viola, Milton Nascimento, Edu Lobo, Caetano Veloso nevertheless, in punctual moments, also Miles Davis, John Mclaughlin, Ralph Towner, Pharoah Sanders and even Cocteau Twins, african tribal music, accordian echoes and Acid Jazz! Despite all that, what drives our attention is the fact hat the artist Otacílio Melgaço is able to create an style so unique as cosmopolitan. Brazilian as universal... Hearing his songs reminds me passionatly of writer João Guimarães Rosa (also from Minas Gerais – state that gave birth to Melgaço) and his spell ‘ I’m not afraid anymore of climbing the peaks where the clean and thin air wheights out, nor to leave the sterght out of my muscles... the empytiness dragged me to the center of the whirl of the great force, that how flows, fierce, inside and out of me... I leave that inevitable dances, around me, the dance of the swards in all moments."
See
Tradução:Vanessa Neves OTACÍLIO
MELGAÇO AND THE INSTRUMENTAL MUSIC To
appeal to the names consecrated that are devoted the such gender as,
mentioning some with which there is identification to Melgaço: Egberto
Gismonti, Hermeto Pascoal, Naná Vasconcelos, Heraldo do Monte, Djalma
Correia, André Geraissati, Ivo Perelman, Victor Assis Brasil, Rodolfo
Stroeter, Arismar do Espírito Santo, Itiberê Zwarg, Aliéksen
Viana...it would be to assume airs natimusicological that here I think
unnecessary. For sign, I would move my spotlights to profiles not so
honored by the media but bearers of unquestionable inventiveness and
objectives of intense melgacian flirt as is the case: the Group One (by
brothers Nazário). The same would be worth his cannibalized
international instrumental influences: John McLaughlin, Keith Jarrett,
Paul Bley, Miles Davis, Ralph Towner, Jan Garbarek, Pharoah Sanders, Sun
Ra, Codona - the more recognized - and so many and so much other.
Excepts relevant that I do. Returned to a certain
tendency or imperialistic clamor. Denominated, in the universe of the
music and international jazz, 'Brazilian jazz' (sic). The Music that I
have as Instrumental Brazilian. Definitively it is not a national
adaptation of the 'North American jazz' in spite of endless Brazilian
musicians they want, à la rent bellies, to prove the opposite. We
recognize possible analogies in terms. Some of their such structural
elements as the Improvisation. So much to the mentioned jazz as for the
academic music (mistakenly had under the emblem: 'erudite') they are
some of the scaffolds but no the Brazilian Instru-mentality imperative
- that is, in duramen, full of exchanges and, about Melgaço,
autodidactic. The self-taught esprit,
for sign, hovers for the most creative native instrumentalists as (nicknamed:
wizard) Hermeto Paschoal that affirmed: 'My teacher is my talent'.
Egberto Gismonti, the most suitable counterpoint to Mr. Paschoal, in
spite of the decanted well-known formation 'classic', maintains alive
the same esprit through vast stylistic that is going from the
close experimentations to the 'free music' even avant-garde casual
techniques. In his instrumental face, Melgaço picks countless elements
of his Country as well as several other. He collects, through his
eclecticism, a type of Museum-of-Everything. Records works that approach
the interior of Minas Gerais folk music, going by the jazz, ethnic music
even arriving to electronic airs.
OTACÍLIO MELGAÇO AND THE CONTEMPORARY MUSIC Below a Manifesto. Their creators: Richenda Brim, Bryan Griest, Jason Vasche, Ryan Hildebrand. The following words are perfect to express Otacílio Melgaço's relationship with the Contemporary Music. I am interested in the "wrong" use of musical technology in the production of music, and the semiotics of "wrong" sounds. Before going further, a few concepts should be addressed: music, technology, and the glitch. First, whether or not the sounds contained herein constitute music is not at all the point of this project; I find the music to be much more interesting than defending it as such. Second, for the purposes of this project, "musical technology" encompasses all the tools used to create the resultant sounds. This technology may range from instruments (e.g., pianos and guitars), to record/playback hardware (e.g., CD players, phonographs, tape players, and computers) and software, to recording media (e.g., CDs, records, magnetic tape, etc.) which includes pre-recorded mass media products. Lastly, the glitch: "1. A minor mishap, malfunction, or technical problem. 2. Electron. A false or spurious electronic signal caused by a brief, unwanted surge of electric power."1, or in terms of music, "the Cut-Copy-Paste-Funk of the most unessentialist sounds ever, the clicks, the movements from one to zero made audible to and from a computermusicgeneration…" (Kösch: 2000). My fascination with the musical appropriation of the glitch served as my point of departure, but I soon realized that, fundamentally, the aesthetic appropriation of mistakes, the unexpected, or "wrong" processes is nothing new in the arts, and especially not in music: Free Improvisation, Turntablism, and tape-based musics are all obvious examples of such practices. Of course, that is not to deny the power of such practices in a larger context: that of pop (music or culture) where formulaic processes are the key to success. I do not think that any of the musics represented here actively seek/sought to be successful in pop terms, but rather, to successfully execute their ideas. Their music may or may not be a reaction against pop music or pop culture, and may or may not be subversive in intent. In many cases it probably flows from the individual(s) irrespective of any grand intent. Certainly, there is no doctrine by which all of these musicians might be aligned. Instead, all of the music represented here are united by their repurposing of phonotechnology in the production of new sounds. This rejection of proper (or at least time-established) use of technology is accompanied by a rejection or radical readjustment of musical traditions, which often results in the creation of new genres: Glitch Electronica, Turntablism, tape music and Musique Concrète, and Free Improvisation (especially via extended technique) are some of the more well-known genres to emerge from such experimentation. Genre distinctions are often more useful to promoters and distributors that they are to musicians. The codification of genres is necessarily against expansion and experimentation: a common denominator of these musics. In fact, there is much cross-fertilization between the genres discussed here, if not in intent and technique, than perhaps in sonic effect. For example, much of Glitch Electronica is based on digital clicks (e.g., CD skips), digital noise, and error: effectively, the sounds of the system coming to a halt. These sounds may then be arranged, looped, repeated, processed, etc. by a variety of means. A DJ engages in a similar process when s/he places his/her hand on the record, stops its rotation, interrupts the linear groove of the track—again, bringing the system to a halt—and scratches. Similarly, in tape based music, Musique Concrète,2 and electro-acoustic music, sounds may be slowed to a crawl, sped up, reversed, distorted, etc. The cut and splice aesthetic practiced in tape based musics is spiritually akin to the "Clicks and Cuts" aesthetic of Glitch Electronica. Manipulation of musical technology is also found in abundance in the "genre" of Free Improvisation3 and with the practice of extended technique. In this project, Free Improvisation and extended technique are unique, as the musical technology subject to manipulation is more likely to consist of traditional instruments;4 though this is not requisite, it is the focus here. Extended technique and Free Improvisation are here lumped together for convenience; one does not imply the other. However, Free Improvisation is perhaps the area in which extended technique is most widely and consistently practiced. Some examples that come to mind are Derek Bailey’s pointillism (on guitar), Evan Parker’s circular breathing (on saxophone), Keith Rowe’s (of AMM) prepared guitar, and John Coltrane’s ensembles of the late 1960s. Ideologically, all of the genres represented here are very close: all involve the repurposing of various forms of musical technology. The sonic products of each genre are quite distinct (even within genres this is true). Yet another characteristic of these genres is their marginality. Simply put, they are unpopular: they are not pop and the general public does not appreciate them. The sounds are wrong. The concept of "wrong" sound may be used to describe the music produced by the "wrong" musical processes of artists in the genres here discussed. It is interesting to consider how these sounds are coded as "wrong" and why some people find them desirable. No doubt much of it has to do with traditional concepts of music and the fact that these alternate forms of music are actually treated as such, i.e., they are recorded and distributed as records, tapes, and CDs, meant to be listened to for enjoyment, just as any other music might be. There are those who make a case for alternate forms of listening, such as "phenomenal listening," but these academic exercises are perhaps second in importance to the listener’s enjoyment. In order to account for the perceived wrongness of sounds, I became interested in the semiotics of wrong sounds: what do these sounds signify, and perhaps more importantly, how do they signify? The answer to the first question is, in part, obvious. Glitches, for example, are sounds of error, especially in a musical context. They signal the interruption of the program and the breakdown of the system; they often lead to frustration. When we hear them coming from our stereos, we immediately get up to make sure that our record/CD/cassette player is functioning properly and that the record/CD/cassette is not damaged. These sounds also signify the interruption of a linear listening event, whether this is the lull of a 4/4 beat, or the flow of a song or of an album. Rhythmic repetition and song/album structure are all forms of narrative, the interruption of which is unsettling. It is no wonder that these sounds are not welcome in pop music. The glitch, even when looped into recognizable, danceable rhythms still seems to carry enough residual signification to prevent it from inducing pleasure in too many people. Though less concerned with electronics, Free Improvisation and the practice of extended technique signify similarly as above. By freely dispensing with rhythm and melody as a requirement of music making activities, musicians do away with two of the traditional elements of music, as well as two forms of narrative structure. While there certainly may be a flow, and it may represent a sort of narrative, it is not one that most are used to. Further, when musicians embrace alternative techniques of sound production on traditional instruments, the listener’s expectations are again thwarted; the instruments do not sound right; the musicians do not seem to know what they are doing. While the above may explain what these wrong sounds signify, it does not explain how they signify. This seems to be largely based on context in which the sounds are heard; this in turn is largely dependant on the type of listening in which the listener is engaged. Roland Barthes proposes three types of listening. The first, which Barthers calls "alert" listening, is one practiced by all beings equipped to hear. In this type of hearing, "a living being orients its hearing (the exercise of its physiological faculty of hearing) to certain indices … the wolf listens for a (possible) noise of its prey, the hare for a (possible) noise of its hunter, the child and the lover for the approaching footsteps which might be the mother’s or the beloved’s." (Barthes: 245) In this type of listening, one listens for sounds of danger or disruption within one’s environment. The way in which glitchy sounds signify disruption has already been discussed. However, this first type of listening involves expectations: one may listen for what one desires to hear. This is particularly true when one plays an album. A record/cd/cassette is played for a certain purpose, and one does so with certain expectations. The glitch subverts such expectations: it is an unwelcome surprise. To pick up Barthes’ analogy, it is like listening for the approaching footsteps of one’s lover, but being greeted by a thief. A person generally puts on an album for the purpose of enjoyment, but this enjoyment hinges on a set of expectations, for example how instruments should be played and how playback should sound. In general, the act of listening to music creates its own context; one with a set of unique indices: rhythm, melody, and timbre, which together signify "music." When one or more of these elements is removed, or altered beyond easy recognition, the product is less desireable. One who enjoys Glitch Electronica may put on a CD expecting to hear music based on the sound of damaged or skipping CDs, but for many, such sounds, even when sublimated via syncopation to a 4/4 beat, do not/cannot constitute pleasurable listening. The second type of listening, deciphering, involves "what the ear tries to intercept are certain signs. Here, no doubt, begins the human: I listen the way I read, i.e., according to certain codes."5 (Barthes: 245). A key concept here is code. The glitch is precisely the sound of damaged code, while Free Improvisation and extended technique tend to go against various musical codes. Furthermore, they often resist structural codes, such as choruses and refrains. Thus these musics tend to resist deciphering, existing rather as inexplicable ciphers, or foreign sounds. Musique Concrète presents an interesting situation as it is based on "normal" everyday sounds. For example, the sounds of trains in Pierre Schaeffer’s Etude aux Chemins de Fer are identifiable as such. The processes to which they are subjected however, transform them into something less identifiable, more surreal, and perhaps displacing. Furthermore, collage, a staple technique of Musique Concrète, tends to skew the easy interpretations of sonic codes by its rapid and sometimes nonsensical juxtapositions. That which cannot be interpreted easily, or at all, is often shunned or feared, or at the very least, is a cause of anxiety. I suspect that this holds true for music as much as anything. Barthes identifies a third "entirely modern" approach to listening, which "does not aim at—or await—certain determined, classified signs: not what is said or emitted, but who speaks, who emits: such listening is supposed to develop in an inter-subjective space where ‘I am listening’ also means ‘listen to me’…" (Barthes: 246-7) This is perhaps where the potential for aesthetic enjoyment of sounds, no matter what they are, begins. It does not require "determined" or "classified" sounds, leaving the listener to engage with the sounds he or she finds enjoyable or interesting. Further, by recognizing "who speaks" or "emits" one identifies the sounds as personal expression. What exactly is expressed is perhaps less important than the fact that it is the production of another human, and I posit that this is ultimately the appeal of all music: it is a form of communication, even if the substance of the communication is nothing but sound. Notes Recognizing the autochthonous Villa-Lobos plurality; composing Strings Octets in honor to Schöenberg and Webern; recognizing the fascination for Olivier Messiaen, Erik Satie, Charles Ives, Pierre Schaeffer, Karlheinz Stockhausen and so many other... Melgaço finds their bows with the history of the classical music to serve him of scaffold for his contemporary language. Above all he thinks and he acts returning his parabolic one not to the modern (forgive me, here I throw a poetic metaphor) but to the eternal. The composer, arranger and instrumentalist likes 'to hole' the time in search of the still inaudible. OTACÍLIO MELGAÇO AND THE POETRY IN PERFORMANCE With reason, Michael Löwy and Robert Sayre, they analyze the romanticism and define the poetry as 'the revolt of the subjectivity and affectivity repressed, channeled and deformed.' If the Resonant Poetry is offspring of the Melgaço's contemporary vein, his references are unchronological. His first work is based on William Blake poetries. The performance maybe is a natural development of the Otacílio's career because mixture instrumental/contemporary formation and his poetic, writer and singer face. There is
a Void, outside of Existence, which if enterd into Listen to the Bard... (Initiation to the Melgaço's Works by Pablo Suarez Paz, argentinean musicologist)
under construction soon new information
|
