M i s o p h o n i a
( V o l . 1 )
O t a c í l i o M e l g a ç o
[duration 33:28] 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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"Often contemporary music reveals its most discouraging face when tries to be forcibly ´extreme´ or ´radical´. Usually equipped, on the one hand, with high tech but, on the other hand, with very little imagination/rickety creative capacity (tend to be inversely proportional), many musicians believe that ... fifty uninterrupted minutes of white noise or dull mixtures of predictable concretisms or some pasteurized electronic tricks ... can still be impressive or even frighteningly impactful. For those who are aware, this is just laughable. The focused example of Otacílio Melgaço is antithetical to that.
´Misophonia (Vol.1)´, a powerful work that explores a rich range of atmospherics and masterfully! In fact, if true noisy symphonies are conceivable - and historically are -, some enthralling spectra are here." (Pablo S. Paz; Argentinean musicologist)
"Again I can sort of ironically admirable (and, being more exact: irrefutably brilliant, genial) the correlation that the Brazilian composer and multi-instrumentalist established between the album title and its astonishing contents." (Caio Campbell; Anglo-Brazilian semiologist and musician)
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I - Leopold Ritter von Sacher-Masoch (1836 – 1895) was an Austrian writer and journalist, who gained renown for his romantic stories of Galician life. The term masochism is derived from his name.
During his lifetime, Sacher-Masoch was well known as a man of letters, a utopian thinker who espoused socialist and humanist ideals in his fiction and non-fiction. Most of his works remain untranslated into English. The novel Venus in Furs was until recently his only book commonly available in English, but an English translation by William Holmes of Die Gottesmutter was released in 2015 as The Mother of God;
II - Kālī (Sanskrit: काली), also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, shakti. She is the fierce aspect of the goddess Durga (Parvati). The name Kali comes from kāla, which means black, time, death, lord of death: Shiva. Since Shiva is called Kāla— the eternal time — the name of Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Hence, Kāli is the Goddess of Time, Change, Power and Destruction. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilation of evil forces still has some influence. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. Comparatively recent devotional movements largely conceive Kāli as a benevolent mother goddess. She is often portrayed standing or dancing on her husband, the god Shiva, who lies prostrate beneath her. Worshipped throughout India but particularly in Kashmir, South India, Bengal, and Assam, Kali is both geographically and culturally marginal;
III - Lowbrow, or lowbrow art, describes an underground visual art movement that arose in the Los Angeles, California, area in the late 1970s. It is a populist art movement with its cultural roots in underground comix, punk music, and hot-rod cultures of the street. It is also often known by the name pop surrealism. Lowbrow art often has a sense of humor – sometimes the humor is gleeful, sometimes impish, and sometimes it is a sarcastic comment. Most lowbrow artworks are paintings, but there are also toys, digital art, and sculpture;
IV - Misophonia, literally "hatred of sound", is a rarely diagnosed neuropsychiatric disorder in which negative emotions (anger, flight, hatred, disgust) are triggered by specific sounds. The sounds can be loud or soft. The term was coined by American neuroscientists Pawel Jastreboff and Margaret Jastreboff and is sometimes referred to as selective sound sensitivity syndrome.
Misophonia is not classified as a discrete disorder in DSM-5 or ICD-10; in 2013 three psychiatrists at the Academic Medical Center in Amsterdam formulated diagnostic criteria for it and suggested that it be classified as a separate psychiatric disorder.
A 2013 review of neurological studies and fMRI studies of the brain as it relates to the disorder postulated that abnormal or dysfunctional assessment of neural signals occurs in the anterior cingulate cortex and insular cortex. These cortices are also implicated in Tourette Syndrome, and are the hub for processing anger, pain, and sensory information. Other researchers concur that the dysfunction is in central nervous system structures. It has been speculated that the anatomical location may be more central than that involved in hyperacusis.
An alternate view, by two misophonia treatment providers, is that misophonia is a Pavlovian conditioned reflex.
...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.
