A u r o r a B o r e a l / A u r o r a A u s t r a l

- Otacílio Melgaço & HoniG Stahl Orchester -

O t a c í l i o M e l g a ç o

[duration 02:24:33] all rights reserved

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The artist Otacílio Melgaço has two official curators in the virtual world. A curator (from Latin: ´curare´, meaning ´to take care´) is a manager or overseer. Traditionally, keeper of a cultural heritage institution (e.g., gallery, museum, library or, as the present case: sound archive) is a content specialist charged with an institution's collections and, highlighting the context in force here, involved with the interpretation of personal (heritage) material. Both, Mr. Paz and Mr. Campbell, are, therefore, reviewers of the Melgacian works. To learn more about their missions, tasks, assignments and responsibilities by means of valuable informations regarding the compositional process, the performative rhizomes and other special features, just click the following link: otaciliomelgaco.wixsite.com/preamblebypsp
(O.M.Team; P r e l u d e)

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"The ´Goddess of Dawn´ is ´Aurora´ in Roman mythology...

´Now when Dawn in robe of saffron was hastening from the streams of Okeanos, to bring light to mortals and immortals...´ (Homer's Iliad)

´Once more the old mysterious glimmer steals
From thy pure brows, and from thy shoulders pure,
And bosom beating with a heart renewed.
Thy cheek begins to redden through the gloom,
Thy sweet eyes brighten slowly close to mine,
Ere yet they blind the stars, and the wild team
Which love thee, yearning for thy yoke, arise,
And shake the darkness from their loosened manes,
And beat the twilight into flakes of a fire.´ (Alfred, Lord Tennyson´s Tithonus)

{P R E A M B L E

"To be just, that is to say, to justify its existence,
criticism should be partial, passionate and political,
that is to say, written from an exclusive point of view,
but a point of view that opens up the widest horizons."
(Charles Baudelaire)

"As I have all the freedom to express myself here,
I sometimes ask your pardon if I can be occasionally more personal. However, I am led to believe that so is extinguished a possible relationship without human warmth, typical relationship of some critics who prefer be more serialized as informative machines or disguising emplacements stunted or, unlike, distantly pedantic (recurrent low self-esteem?) - all cases seem unpalatable to me. We are not here to impose hierarchies, halters or passivity but to hold meetings. Mutualism is the way two organisms of different species exist in a relationship in which each individual benefits from the activity of the other. Similar interactions within a species are known as co-operation. From Biology to Metaphoricity (artistic, social, etc.),
so be it.
​
​
Neither I nor Caio Campbell - we are not public figures.
Do not participate in social and related networks. For many - this may seem, I can say, ´exotic´ in post modern times but is a common feature that coincidentally we have. By choice and conviction. With so many histrionic and invasive showcases, we prefer to be the more anonymous beings as possible. If we are in against Draconian trends, on the other hand this enables the focus in high esteem links, qualitative bond among us and a few other people in our circle of interlocutors. We are not airtight persons, I believe. Yes we prefer not to be part of an overexposure - to put it mildly. And point, only that.

[A curious aspect: these days, if you do not take a public virtual life
(a virtual life accessible by all), even your very existence, your real life is now doubted. There's a kind of inversion of values. I do not mean 'give up on having a productive life in the digital world', but this paradoxical expectation that a significant number of people have about an unlikely existence if not demonstrably virtualized - to use
an euphemism, is really pathetic]. And point, only that.

On the preservation of privacy, you can see that´s a conduit even adopted, as far as possible, by own Otacílio Melgaço - besides being a brilliant being, an old acquaintance. I am not among those who think that connections - between critic and artist - must be non-existent. If they do exist, if we are ethical professionals - don´t affect the legitimacy and the discernment of ideas and ´verdicts´, for sure. In my case, a contact slightly nearer enriches and expands the views and I value that. If there´s ethics, everything becomes responsibly feasible. But I respect those who prefer to remain distant. (Prefer or, at long last, do not have proper accessibility). Okay.

Anyway, both I and Mr. Campbell - apart from reviewers or critics - we are, with great honor and diligence, official (virtual) curators of the Melgacian Work. Always it will be a challenge. We have established a very unusual praxis so that we can realize it - more and better. I can cite one example among many unusual mechanisms that elevates our performance to an exuberantly creative condition and, why not?, also artistical. Sometimes, when so excitingly decided, we create points of intersection amidst our perspectives
(even aiming for a common copydesk) - just like part of a surreal ´blind man's buff´ that respectfully borders on unimaginable (at its most inventive artistic sense), that is, constantly look for ways that are prodigious. Just like if one of us could penetrate into the nature
of the mind of the other to find out how there would be
a specific translation of this or that sonic creation.
​
[Somehow it reminds me of 'Persona'. 'Persona' is a 1966 black and white Swedish film written and directed by Ingmar Bergman. Bibi Andersson as Alma, Liv Ullmann as Elisabet Vogler. Leaving aside the sickening prospect between the two, here I am referring purely to a singular kind of interpenetration. A fusion so widespread when (you certainly know the iconic scene) the halves of their faces become a single face. Decode it in a figurative sense - of course, and exclusively in terms of deciphering - as much as possible - the artist's universe
on which we place our focus. That's it].

Yes, just like if one of us could penetrate into the nature of the mind of the other to find out how there would be a specific translation of this or that sonic creation. To try to elucidate each Melgacian fetus, would not be otherwise - we had to absorb his genial Daedalian modus operandi! Another valuable detail: interferences of one in the text of the other are also welcome, often enclosed in parentheses.
Also, I talk about a certain pact. A pact that we did (without asking permission because it was part of our jurisprudence) was try, in our reviews, to be closer to the way Otacílio writes. Yes, there´s a chameleonic nexus here. I can reveal what served as the north for this decision: the fascination of his writing and how important it´s to have the public access to. Even if indirectly, through our intention to embody/personify, to a certain point, the unmistakeable Melgacian stylistic. This created an exciting amalgam: our ideas won a corporeality that refers, as intimate as possible, to the Artist in focus. Our content on a continent so peculiar. And as this is a privilege that we have privately (direct contact with him through the/his art of writing), how could we to deprive each of you of? From now on,
the pact extends to all of us.

Announcing the culmination of
such confessional parenthesis, I´ll return to what really interests us, Ladies and Gentlemen. The people closest to me (through my real gatherings and not the pregnable internet; private contacts - professional or not - I have with friends from all over the world but privately) ask questions about O.M. (a more secluded personality, mysterious, that does not usually do live performances; does not have the habit of disclosing personal data - even professionals with the exception, sure, his works themselves - ... thus prefers to stay away from mediatic ´spotlights & showcases´) and how I have no virtual windows open to the public - as I explained above -, will take this opportunity to address these issues both of whom personally summons me as, I ratify, by the wide range of Net Citizens following and honoring the Melgaço career. I´ll take this occasion to make three succinct clarifications that seem very relevant and which may be useful both to my ´next-door questioners´ as (in this site, yes, using the proper support) to all reputable world wide web travelers:

1-That's right, most instruments and
the development of noises is Melgaço who respectively plays and articulates. That's right; there are also many Otacilian inventions and interference - post recording - through cyber electronic paraphernalia. As in ´The Brothers Karamazov´, the last and most complex of Fyodor Dostoevsky's philosophical novels: ´Everything is permitted!´ In fact, he never wrote that. It was Jean-Paul Sartre who quoted from a mistranslation. The original phrase of the Russian author would be: 'All things are lawful' (´всё позволено'). Anyway, in the context here present, I'll take this misunderstanding in my own mode: Precisely because God exists, everything is allowed! O.M. was the creator, the founder of Nausícaaa Ensemble + Zycluz Quartett + The Mahashiva Orchestra + CadavreXquis + The Dark Midas Combo + HoniG Stahl Orchester & all the others that will arise. It´s a cluster of musicians around the world (the same spiral with several sobriquets), which also prefer to remain unidentifiable. I dare say that when names come to the fore, are tasty pseudonyms. It would be a tacit and unorthodox and rhizomatic and syncretic and interpenetrated and multidisciplinary ... kind of subterranean/collaborative A n o n y m o u s S o c i e t y.
They, the participants, are not concerned about a personal disclosure but with the development of a cohesive and sophisticated group work. Sometimes special guests, but most of the time there are new partners - in reality. It´s a Brotherhood, a secret Sect, a pseudo Mafia? (I ask forgiveness for the cordial prank): can we use various denominations but what actually is vital to know: everyone remains under the Melgacian conducting baton. The various etymological baptisms are internal reorganizations that suggest a more specific character. A string quartet; an agglomeration with oriental accent; a properly experimental nature of another supercombo etc. [Out of curiosity: the reverse is true. Musicians who participate in the aforementioned combinations and produce their own discographies, all rely on
the collaboration of O.M. (incognitly) and so on].

Not always all the instrumentalists record
their performances simultaneously nor under the same roof. By the way, this rarely happens - even when they belong to the same continent. Here, the conductor´s role is fundamental: Melgaço sends instructions [in the form of sheet music or sculptures or plastic art ... are various notations starting from the usual with attached several descriptions (the ´spirit´ of a genesis, intrinsic denominations and vast characteristics) until countless other personal ways invented by him] and, between this and that, are usually made individual records. Concurrently the very Otacílio sends to them his own performance (having multiple sound sources) to serve as a reference to each of the involved and, after receiving - in return - their interpretations/interventions, ostensibly Melgaço adds more personal executions, of course. Just like they say, are layers of an onion. (Just as film actors do not usually be shot in chronological order; is totally unlikely that all performers participate in same scenes, many of them never meet during the process and only have the sense of what will be the work in its entirety: when watching in a big screen, months or years later). After that, O.M., cloistral, performs the addition of all the rich and cosmopolitan material. Therefore develops the mixture - everything becomes part of the ubiquitous art of arranger. A composition only gains the full feature after enshrined alchemy through the soundboard. It may be noted that through this methodology, is all part of a constant creative process. Melgaço is creating all the time, even in the last moments in conducting the binders joints - lonely in his monastic studio. Furthermore all, he also has a parallel series of records that are fragmented own compositions (consisting of solo instruments), all in robust files gingerly organized and, from illimitable combinations & always different potential effects, the Brazilian musician dominates a prolific ringing source to generate new and new works exponentially - if so opt. Under these circumstances, there are several projects underway simultaneously in distinct parts of the globe. All this panorama explains the eloquence and capillarity of the harvest (the case of Otacílio Melgaço is not unique in the world - see Hans Werner Henze, John Zorn, Tangerine Dream ... - but there are rare artists who have produced more than consistent 200 albums signed by themselves and, adding to that, remain active and creative); ... yes, superhuman eloquence and capillarity of the harvest - further if in the hands of a (preter)human being who has the art as a ´priesthood´, a profound vocation, unbroken state of mind/spirit, a fate.

As a side note but certainly synchronic, I think it´s essential to say that, although in the reviews of the Melgaço recordings we still talk about, concepts such as Harmony, Rhythm, Melody ... are only shortcuts to a more immediate understanding. Because, in reality, I do not believe that the music that´s made there fits in them. They´re spatialities that have become very small for the giant steps given there. What´s being worked out through these compositions and interpretations is not a daring variation of already conventional precepts. It´s the sound phenomenon, the very condition of sound itself that´s in constant experimentation and creaturization.

It´s worth adding that his ´monkish´, translucent studio is better known as O||M. And finally, as such coda to this Homeric process, the ultimate outcome is released through his own label, Yoknapotawpha;


2-The Melgaço´s works are undated.
He never bothered to link them to timelines. Once confided in me that ´does not have this obedience to the pointers, no commitment to the runoff of the sand grains´. Ritually he agrees with Rainer Maria Rilke,´the Artist is Eternity jutting out over the present´. All phonographic posts - here on Bandcamp - then belong to a tangle of temporalities, which the composer and multi-instrumentalist calls his ´Pandora´s Box (bottomless)´. There´s no logic for ranking posts, there´s not - in time´n´space - a rigid sequencing - probably does justice to some much more chaotic precept (cosmogonically and mythologically), I particularly think. I also know that Otacílio likes to play with the Chaos (theoretically and practically), as well as the Knight and the Death
in a certain another Bergman film;


3-I always asked for O.M. inform me about
his artistic birth process and inevitably he gives me, each time,
a different answer. The latest, elegantly (or ironically?) Baudelairean, was:´This is betwixt me and a ... Fée Verte.´ Aside from Artemisia absinthium, and do not think it necessary to draw your attention to the providential music title* - I leave you with another of his sui generis replies:´Everything is a matter of * www.youtube.com/watch?v=y7SoYb9KLDE ...´}

T H E
I N N E R
> D A W N <
or
M E L G A C E U S - B O R E A U S T R A L I S

And beat the twilight into flakes of a fire!

´Aurora Boreal / Aurora Austral´:
A
SUPERLATIVE
CREATION!
Are two Pieces of philharmonic proportions and reveal themselves as true music lessons! I could adopt ´prescribing information´ as Mythic Method, New Complexity beyond the spectra Electronic and Concrete and so on ... but I prefer your ears more and more open and not become tacit by the indiscriminate use of labels. There are two Pieces - divided into two parts - which are endowed with a challenging climbing power. A grandiloquent vocation of exquisite strain. A Gargantuan suitability for the highest...

Justifications for my hyperbolic cry?

i- Sol lucet omnibus

The genius in thorough exploration of numerous timbres, several coloraturas. The Otacílio´s palette is one of the most impressive in all musical current scenarios;

ii- Ex digito gigas

The harmonic conception, unpredictable and engaging design, a rare sonic architectural character today;

iii- A magnis maxima

The performances, technical excellence and especially the interpenetration in the generation of climates & atmospheres that only Olympic instrumentalists are able and if so, the HoniG Stahl Orchester and the very O.M., they reveal themselves as a pinnacle!;

iv- Alta a longe cognoscit

The arrangements, unique ability to synchronicities and instrumental conjunctions;

v- Arbore de dulci dulcia poma cadunt

The individualized ´veneer´ used in recording and post production treatments, escaping from an aseptic and pasteurized sonority typical from most studios;

vi- Naturae sequitur semina quisquis suae

Among many other arguments, last but not least - perhaps leaving to the end what is the most important indeed, the idiosyncrasy of Otacílio Melgaço as creator. Its universality, authenticity, diversity, originality, iconoclasm, depth, altitude, ubiquity, limitlessness, insight, joints, lighting, (...), finally, its Mysteries - I think this word, in such a materialistic technocratic world and soulless, defines everything and I presume that the most discerners will realize the constructive connotations of the term. Verba mollia et efficacia.

´A u r o r a B o r e a l / A u r o r a A u s t r a l
- O t a c í l i o M e l g a ç o &
H o n i G S t a h l O r c h e s t e r -´
undoubtedly seal the fact that O.M. belongs to a rare pantheon of contemporary composers. The authentic pantheon of those who will remain." (Pablo S. Paz; Argentinean musicologist)

"´The polar aurora is an optical phenomenon consisting of a glow observed in the night skies in the polar regions, due to the impact of solar wind particles with the upper atmosphere of the Earth, channeled by the Earth's magnetic field. In northern latitudes is known as Aurora Borealis - in Portuguese, Boreal - (name baptized by Galileo Galilei in 1619, in reference to the Roman goddess of dawn, Aurora, and Boreas, the Greek god, representing the north winds). It usually occurs in times from September to October and from March to April. In southern latitudes is known as Aurora Australis - idem, Austral -, name baptized by James Cook, a direct reference to it being the south. The phenomenon is not only unique to the Earth, also being observed on other planets of the solar system such as Jupiter, Saturn, Mars and Venus. Similarly, the phenomenon is not unique to nature, also being reproducible artificially through nuclear explosions or in the laboratory.

Auroras take many different visual forms. The most distinctive and brightest are the curtain-like auroral arcs. They eventually fragment or ‘break-up’ into separate, and rapidly changing, often rayed features which may fill the whole sky. These are the ‘discrete’ auroras which are at times bright enough to read a newspaper by at night.

The ‘diffuse’ aurora, on the other hand, is a relatively featureless glow sometimes close to the limit of visibility. It can be distinguished from moonlit clouds by the fact that stars can be seen undiminished through the glow. Diffuse auroras are often composed of patches whose brightness exhibits regular or near-regular pulsations. The pulsation period can be typically many seconds, so is not always obvious. Occasionally there is a fast, sub-second, flickering. A typical auroral display consists of these forms appearing in the above order throughout the night.

Red: At the highest altitudes, excited atomic oxygen emits at 630.0 nm (red); low concentration of atoms and lower sensitivity of eyes at this wavelength make this colour visible only under more intense solar activity. The low amount of oxygen atoms and their gradually diminishing concentration is responsible for the faint appearance of the top parts of the ´curtains´.

Green: At lower altitudes the more frequent collisions suppress this mode and the 557.7 nm emission (green) dominates; fairly high concentration of atomic oxygen and higher eye sensitivity in green make green auroras the most common. The excited molecular nitrogen (atomic nitrogen being rare due to high stability of the N2 molecule) plays its role here as well, as it can transfer energy by collision to an oxygen atom, which then radiates it away at the green wavelength. (Red and green can also mix together to produce pink or yellow hues.) The rapid decrease of concentration of atomic oxygen below about 100 km is responsible for the abrupt-looking end of the lower edges of the curtains.

Yellow and pink are a mix of red and green or blue.

Blue: At yet lower altitudes atomic oxygen is, uncommon, and ionized molecular nitrogen takes over in producing visible light emission; it radiates at a large number of wavelengths in both red and blue parts of the spectrum, with 428 nm (blue) being dominant. Blue and purple emissions, typically at the lower edges of the ´curtains´, show up at the highest levels of solar activity.´

A u r o r a B o r e a l / A u r o r a A u s t r a l
is a MASTERPIECE filled with magnificent sound arcs and indescribable colors! Or maybe I could call it a work that moves - in impressive coloraturas - between the blue, yellow, green and red. Sometimes discrete, sometimes diffuse, sometimes the antithesis of that. What may have an axiomatic value: Everything in it is preterhumanly auroral!

´Aurora is the Latin word for dawn, and the goddess of dawn in Roman mythology and Latin poetry. Like Greek Eos and Rigvedic Ushas (and possibly Germanic Ostara), Aurora continues the name of an earlier Indo-European dawn goddess, Hausos. Aurora renews herself every morning and flies across the sky, announcing the arrival of the sun. Her parentage was flexible: for Ovid, she could equally be Pallantis, signifying the daughter of Pallas, or the daughter of Hyperion. She has two siblings, a brother (Sol, the sun) and a sister (Lua, the moon). Rarely Roman writers imitated Hesiod and later Greek poets and named Aurora as the mother of the Anemoi (the Winds), who were the offspring of Astraeus, the father of the stars. Aurora appears most often in sexual poetry with one of her mortal lovers. A myth taken from the Greek by Roman poets tells that one of her lovers was the prince of Troy, Tithonus. Tithonus was a mortal, and would therefore age and die. Wanting to be with her lover for all eternity, Aurora asked Jupiter to grant immortality to Tithonus. Jupiter granted her wish, but she failed to ask for eternal youth to accompany his immortality, and he became forever old. Aurora turned him into a grasshopper.´

I will choose three of numerous analogies:

Yes, both symphonic Pieces seem renew themselves every morning and every hearing and fly - spreading our wings to audio acuity - in aesthetic lightness through the sky - figurative niche for our libertarian perceptions -, announcing the arrival of a polysemic sun - in his admirable and enigmatic and exact and poetic and spick and span eloquence. Nothing could be more auroral!;

Yes, the two brothers, one brother (Sol, the sun) and a sister (Lua, the moon) could be here metaphors for Boreal and Austral, no?;

Yes, consolidating a deeper relationship with listeners, why not claim a dimension of uninterrupted enjoyment appropriate to the concept of Perennial? Because once again the sounds calved by O.M. corrupt limits of time´n´space. It is enough to listen to this phonograph album. And, obedient to mythology, even if we are (lovingly) transformed into ´grasshoppers´, do not forget that the term is used by the Eastern Zen masters to describe ´learners´. Listeners/Learners. (Just like the recent particular testimony of a member of the phenomenal HoniG Stahl Orchester: ´Ein Tipp: probieren Sie die extreme Tiefe des ´Melgacianas´ Polarlichter, weil es gleich aufwachen in der Mitte einer Odyssee und Ilias oder vielleicht Aeneis, zur gleichen Zeit.´)

From Virgil's Aeneid: ´Aurora now had left her saffron bed, And beams of early light the heav'ns o'erspread, When, from a tow'r, the queen, with wakeful eyes, Saw day point upward from the rosy skies.´ Heavenly rose, one more Virgilian color to find out as we hear such Melgacian sonic irradiation. I unforgivably forgot to include the pink in the coloraturas of magnetic and vibrational blue, yellow, green and red Auroras. Providential correction, I hope.

Hopefully, in singer-songwriter Björk's Vespertine track, Aurora is described as: ´Aurora Goddess sparkle A mountain shade suggests your shapeI tumble down on my knees Fill my mouth with snow The way it melts I wish to melt into you.´ It's a beautiful way to also describe what ´Aurora Boreal / Aurora Austral´ triggers:
the MASTERPIECE melts into US..." (Caio Campbell; Anglo-Brazilian semiologist and musician)

&

I - An aurora is a natural light display in the sky (from the Latin word aurora, "sunrise" or the Roman goddess of dawn), predominantly seen in the high latitude (Arctic and Antarctic) regions. The name ”auroras” is now more commonly used for the linguistic plural ”aurorae” of ”aurora”, so is adopted throughout the main text of this article. Modern style guides recommend that the names of meteorological phenomena, such as aurora borealis, be uncapitalized. Auroras are caused by charged particles, mainly electrons and protons, entering the atmosphere from above causing ionisation and excitation of atmospheric constituents, and consequent optical emissions. Incident protons can also produce emissions as hydrogen atoms after gaining an electron from the atmosphere;

II - Magnetic control of the aurora was mentioned by Ancient Greek explorer/geographer Pytheas, Hiorter, and Celsius described in 1741 evidence that large magnetic fluctuations occurred whenever the aurora was observed overhead. It was also later realized that large electric currents were associated with the aurora, flowing in the region where auroral light originated. Multiple superstitions and obsolete theories explaining the aurora have emerged over the centuries.
Seneca speaks diffusely on auroras in the first book of his Naturales Quaestiones, drawing mainly from Aristotle; he classifies them "putei" or wells when they are circular and "rim a large hole in the sky", "pithaei" when they look like casks, "chasmata" from the same root of the English chasm, "pogoniae" when they are bearded, "cyparissae" when they look like cypresses), describes their manifold colors and asks himself whether they are above or below the clouds. He recalls that under Tiberius, an aurora formed above Ostia, so intense and so red that a cohort of the army, stationed nearby for fireman duty, galloped to the city.

Walter William Bryant wrote in his book Kepler (1920) that Tycho Brahe "seems to have been something of a homœopathist, for he recommends sulfur to cure infectious diseases “brought on by the sulphurous vapours of the Aurora Borealis."
Benjamin Franklin theorized that the "mystery of the Northern Lights" was caused by a concentration of electrical charges in the polar regions intensified by the snow and other moisture.[48]

The northern lights have had a number of names throughout history. The Cree called the phenomenon the "Dance of the Spirits". In Medieval Europe, the auroras were commonly believed to be a sign from God.

There is the claim from 1855 that in Norse mythology:

The Valkyrior are warlike virgins, mounted upon horses and armed with helmets and spears. /.../ When they ride forth on their errand, their armour sheds a strange flickering light, which flashes up over the northern skies, making what Men call the "aurora borealis", or "Northern Lights".

While a striking notion, there is not a vast body of evidence in the Old Norse literature giving this interpretation, or even much reference to auroras. Although auroral activity is common over Scandinavia and Iceland today, it is possible that the Magnetic North Pole was considerably farther away from this region during the relevant period of Norse mythology.

The first Old Norse account of norðrljós is found in the Norwegian chronicle Konungs Skuggsjá from AD 1230. The chronicler has heard about this phenomenon from compatriots returning from Greenland, and he gives three possible explanations: that the ocean was surrounded by vast fires, that the sun flares could reach around the world to its night side, or that glaciers could store energy so that they eventually became fluorescent.

In ancient Roman mythology, Aurora is the goddess of the dawn, renewing herself every morning to fly across the sky, announcing the arrival of the sun. The persona of Aurora the goddess has been incorporated in the writings of Shakespeare, Lord Tennyson, and Thoreau.

In the traditions of Aboriginal Australians, the Aurora Australis is commonly associated with fire. For example, the Gunditjmara people of western Victoria called auroras "Puae buae", meaning "ashes", while the Gunai people of eastern Victoria perceived auroras as bushfires in the spirit world. When the Dieri people of South Australia said that an auroral display was "Kootchee", an evil spirit creating a large fire. Similarly, the Ngarrindjeri people of South Australia referred to auroras seen over Kangaroo Island as the campfires of spirits in the ‘Land of the Dead’. Aboriginal people in southwest Queensland believed the auroras to be the fires of the "Oola Pikka", ghostly spirits who spoke to the people through auroras. Sacred law forbade anyone except male elders from watching or interpreting the messages of ancestors they believed were transmitted through auroras.

Frederic Edwin Church's 1865 painting "Aurora Borealis"
After the Battle of Fredericksburg, the lights could be seen from the battlefield that night. The Confederate Army took it as a sign that God was on their side during the battle as it was very rare that one could see the Lights in Virginia. The painting Aurora Borealis (see Aurora Borealis) (1865) by American landscape painter Frederic Edwin Church is widely interpreted to represent the conflict of the American Civil War.

...for purposes of pragmatism and clear exegesis,
Wikipedia was the main source...

\|/

Between two parentheses...
(Atonalism, Twelve-Tone, Serialism, Musique Concrète... Acousmatic. Eletroacoustic. Magnetic Tape. Expressionism, New Objectivity, Hyperrealism, Abstractionism, Neoclassicism, Neobarbarism, Futurism, Mythic Method. Electronic...Computer Music, Spectral, Polystylism, Neoromanticism, Minimalism and Post-Minimalism...are addressed by Melgaço. Paradoxically New Simplicity and New Complexity also.
Art Rock, Free Jazz, Ethnic Dialects, Street Sounds are occasional syntax elements.
All the possibilities mentioned above and others that were not mentioned are the usual accoutrements of the composer/instrumentalist to establish his ´babelic´ glossary. We can prove this in a short passage of a single composition up along the entirety of a conceptual phonograph album. All distributed over a career and idiosyncratic records. Have we a universe before us and I propose to see it through a telescope, not a microscope.
I propose not handle very specialized topics here. Otherwise would be, with the exception of musicians and scholars, all hostages of a hermetic jargon. Because more important is to present Otacílio Melgaço to the general public and not to a segment of specialists. Faction of experts not need presentations, depart for the enjoyment beforehand. For this reason there is no niche here for intellectual onanism and encrypted musical terminology. The reason for these parentheses is to establish such elucidation. The non-adoption of technicalities leads to more panoramic, amplifier reviews. Are You always welcome. Those who do not dominate contemporary music and are introduced to the world of ubiquitous O.M. [autodidact and independent artist who, being more specific, does not belong to schools or doctrines; artist who makes Music and that´s enough; music devoid of labels or stylistic, chronological, historical paradigms or trends] and Those who belong to the métier and turn to enjoy propositions they know and also delving into advanced Melgacian sound cosmogonies...
I conclude poetically. ´Certeza/Certainty´ by Octavio Paz. ´Si es real la luz blanca De esta lámpara, real La mano que escribe, ¿son reales
Los ojos que miran lo escrito? De una palabra a la otra Lo que digo se desvanece. Yo sé que estoy vivo Entre dos paréntesis.´ If it is real the white light from this lamp, real the writing hand, are they real, the eyes looking at what I write? From one word to the other what I say vanishes. I know that I am alive between two parentheses.
We´re all more and more a-l-i-v-e now.)
- P.S.P.