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Jaguad​´​Arte {Otac​í​lio Melga​ç​o} [duration 41​:​36]

by Otacílio Melgaço

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about

J a g u a d´ A r t e

O t a c í l i o M e l g a ç o

[duration 41:36] 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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"2015. ´Alice in Wonderland´ celebrates her 150th birthday this year.

There are many points of intersection between the art of Lewis Carroll and the Melgacian universe. Now we face the consecration of this fact in a fascinating crisscrossed sonic work (including making use of a seminal ´power trio´: guitar, electric/acoustic bass and drums): Jaguad'Arte!

I highlight the interlaced dimensions of dialect and timbre of the instruments. If the drums and the bass tend to be avant-jazzy, the sturdy guitar sounds sometimes ´noise´, sometimes ´spectral´, sometimes ´industrial´. Experimental rock + free jazz = a very ecstatic alliance. And all under layers and atmospheres of contemporary music - inventively exploring its nonsense vein.

Nonsense is a communication, via speech, writing, or any other symbolic system, that lacks any coherent meaning. Sometimes in ordinary usage, nonsense is synonymous with absurdity. In the philosophy of language and philosophy of science, nonsense is distinguished from sense or meaningfulness, and attempts have been made to come up with a coherent and consistent method of distinguishing sense from nonsense. It is also an important field of study in cryptography regarding separating a signal from noise.

Jaguad´Arte is the reverberant Art of unencrypting signals. Signals of noise. As a matter of fact, all the signals of Noisense! ´Take care of the sense and the sounds will take care of themselves´ once said Carroll. Otacílio Melgaço knows it very very well." (Pablo S. Paz; Argentinean musicologist)

"In an early scene in which she first encounters the chess piece characters White King and White Queen, Alice finds a book written in a seemingly unintelligible language. Realising that she is travelling through an inverted world, she recognises that the verses on the pages are written in mirror-writing. She holds a mirror to one of the poems, and reads the reflected verse of Jabberwocky. She finds the nonsense verse as puzzling as the odd land she has passed into, later revealed as a dreamscape.

Metaphorically, Mr. Melgaço meticulously does the same, but - here and with venturesome mastery -, through captivating music.

´Bravooh! Bravarte!
Era briluz e...estavam mimsicais as pintalouvas!´" (Caio Campbell; Anglo-Brazilian semiologist and musician)

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I - Jabberwocky (in Portuguese, "Jaguadarte") is a nonsense poem written by Lewis Carroll and included in his 1871 novel Through the Looking-Glass, and What Alice Found There, a sequel to Alice's Adventures in Wonderland. The book tells of Alice's adventures within the back-to-front world of a looking glass.

Jabberwocky is considered one of the greatest nonsense poems written in English. Its playful, whimsical language has given English nonsense words and neologisms such as "galumphing" and "chortle";

II - "Jabberwocky"

'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.

"Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!"

He took his vorpal sword in hand:
Long time the manxome foe he sought—
So rested he by the Tumtum tree,
And stood awhile in thought.

And as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!

One, two! One, two! and through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.

"And hast thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!"
He chortled in his joy.

'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.

...for purposes of pragmatism and clear exegesis,
quotes have Wikipedia as a 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 June 6, 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 [O.M., after Tenniel] | 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
otaciliomelgaco.wixsite.com/omenglish
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PORTAL O|M
(Portuguese)
otaciliomelgaco.wixsite.com/otaciliomelgaco
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Site to be viewed exclusively on Mobile Devices (smartphones, etc.)
otaciliomelgaco.wixsite.com/mobileom
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"Music is like a bewitched Mistress." (Paul Klee)
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