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Camouflage (Klangfarbenmelodie f​ü​r Fl​á​vio de Carvalho) {Otac​í​lio Melga​ç​o} [duration 31​:​00]

by Otacílio Melgaço

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about

C a m o u f l a g e

K l a n g f a r b e n m e l o d i e
f ü r
F l á v i o D e C a r v a l h o

O t a c í l i o M e l g a ç o

[duration 31:00] 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 melody in the works of Melgaço supposedly does not exist. In reality it is a new concept that he presents. Are melodic lines that concurrently arise through overlays. Sometimes detectable, other times obscure or suggesting a complexity that has a tendency to transpose them into a harmonic condition. But, considering the melody as a flowing circuit, there´s an aspect that is not controversial: the way he explores the coloratura of sounds makes me categorize him as a fabulous sonic painter. ´Painting is silent poetry´, according to Plutarch.

C a m o u f l a g e is echoingly poetic and pictorially pervades the silence taking brilliantly off-beat advantage of the trinity ´Sound-Color-Melody´.

Jackson Pollock conclusively adds: ´Painting is self-discovery. Every good artist paints what he is.´ Yes!, even when camouflaged, Otacílio Melgaço could not be more authentic, true-born, pukka." (Pablo S. Paz; Argentinean musicologist)

"1 - Camouflage is the use of any combination of materials, coloration or illumination for concealment, either by making animals or objects hard to see (crypsis), or by disguising them as something else (mimesis). Examples include the leopard's spotted coat, the battledress of a modern soldier, and the leaf-mimic katydid's wings. A third approach, motion dazzle, confuses the observer with a conspicuous pattern, making the object visible but momentarily harder to locate. The majority of camouflage methods aim for crypsis, often through a general resemblance to the background, high contrast disruptive coloration, eliminating shadow, and countershading. In the open ocean, where there is no background, the principal methods of camouflage are transparency, silvering, and countershading, while the ability to produce light is among other things used for counter-illumination on the undersides of cephalopods such as squid. Some animals, such as chameleons and octopuses, are capable of actively changing their skin pattern and colours, whether for camouflage or for signalling;

2 - Klangfarbenmelodie: a term coined by composer Arnold Schoenberg to describe a style of composition that employs several different kinds of tone colors to a single pitch or to multiple pitches. This is achieved by distributing the pitch or melody among several different instruments;

3 - One to whom this Piece is dedicated, among other labels, was architect, engineer, set designer, playwright, painter, designer, writer, philosopher, performer, flashmobist, musician;

4 - The yarn that Melgaço spins around such concepts:

. Camouflage,

. Timbre Orchestration,

. (a) Tribute to the metamorphic Mr. Rezende,

is phenomenal. Just like Flávio, Otacílio perpetuates its eccentric, visionary, provocative, adventurer, disturber, ´cannibalistic´, transformer, Mephistophelian reputation. His penetrating and heterodox Klangfarbenmelodie could be called ´anthropophagic´ (identically to Carvalhian modernism) while contexture/catenation of the plurality that is the creation of O.M., many men and artists in chameleonic one." (Caio Campbell; Anglo-Brazilian semiologist and musician)

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I - Klangfarbenmelodie (German for sound-color-melody) is a musical technique that involves splitting a musical line or melody between several instruments, rather than assigning it to just one instrument (or set of instruments), thereby adding color (timbre) and texture to the melodic line. The technique is sometimes compared to "pointillism", a neo-impressionist painting technique.

The term derives from Arnold Schoenberg's Harmonielehre, where he discusses the creation of "timbre-structures." Schoenberg and Anton Webern are particularly noted for their use of the technique, Schoenberg most notably in the third of his Five Pieces for Orchestra (Op. 16), and Webern in his Op. 10 (likely a response to Schoenberg's Op. 16), his Concerto for Nine Instruments (Op. 24), the Op. 11 pieces for cello and piano, and his orchestration of the six-part ricercar from Bach's Musical Offering.

Notable examples of such voice distribution that preceded the use of the term are Berlioz' Symphonie fantastique where, in the fourth movement (March to the Scaffold, bars 109-112), the melody is passed between the strings and the winds several times; and the works of Claude Debussy. Regarding the latter, Samson writes: "To a marked degree the music of Debussy elevates timbre to an unprecedented structural status; already in Prélude à l'après-midi d'un faune the color of flute and harp functions referentially."

In the 1950s, the concept inspired a number of European composers including Karlheinz Stockhausen to attempt systematization of timbre along serial lines, especially in electronic music;

II - Flávio de Rezende Carvalho (1899–1973) was a Brazilian architect and artist.

Carvalho was educated in France from 1911 to 1914, and then in Newcastle-upon-Tyne until 1922, attending the King Edward the Seventh School of Fine Arts and Durham University's Armstrong College. In Newcastle he obtained degrees in both civil engineering and fine art. Carvalho returned to São Paulo in 1922, joining a local construction firm, before designing his own buildings and creating numerous artworks. In all his diverse practice he was largely influenced by the writings of Sigmund Freud and of the social anthropologist James Frazer. Le Corbusier defined him as a "Romantic Revolutionary".

As an artist Carvalho represented Brazil at the 1950 Venice Biennial. Amongst his most noted works in the medium is the series Tragic Series which depicted the death of his mother. Carvalho was also an influential writer, penning the play Dance of the Dead God for the Experimental Theater in 1933.

Carvalho was noted for his experimental designs, such as a scheme for the Governor's Palace in São Paulo in 1927 (unbuilt), the Main House at Capuava Ranch and a residential complex at Alameda Lorena. Cavalcanti writes that "His freedom and lack of commitment to rigid dogmas led him to create a personal language that mixed styles, references and construction techniques." This openness has also made that Carvalho has been hailed as pivotal figure in activating discussions about the relationship and overlaps between art and architecture.

Carvalho frequently courted controversy in his time, walking in the opposite direction to a Corpus Christi parade in São Paulo, creating various "performances" before the term was coined. He could regularly be seen female clothing, ostensibly as part of a performance art piece also being an important influence on Helio Oiticica and a precursor to Neo-Concretists such as Lygia Clark and Lygia Pape. He could regularly be seen female clothing, ostensibly as part of a performance art piece.

Carvalho was nominated for the Nobel prize in literature in 1939 by Paul V Shaw, professor of history at the University of São Paulo.

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

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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.

credits

released May 5, 2015

Hear more here:
soundcloud.com/otaciliomelgaco

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O t a c í l i o
M e l g a ç o {conception | composition | arrangement | synopsis | instrumentation | orchestration | engineering & sound design | art design | production | direction}

Special Guests: Nausícaaa Ensemble

Estúdio Yoknapotawpha/BR + Unidade Euromobile

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Otacílio Melgaço Belo Horizonte, Brazil

Composer, Arranger, Conductor, Multi-
Instrumentalist
from
Minas Gerais,
Brazil.
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Official (English) Site
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"Music is like a bewitched Mistress." (Paul Klee)
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