M i s o p h o n i a
( V o l . 2 )

O t a c í l i o M e l g a ç o

[duration 37:50] all rights reserved

#

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)

+

"´I frequently hear music in the very heart of noise!´ said, once, George Gershwin. This is, always fecund, a lesson revisited by O.M. in his ´Misophonia (Vol.2)´. And there´s another that Melgaço adds and through which updates the phraseology of the bluish-and-bluesy rhapsodic North American composer: You can also frequently hear noise in the very heart of the music. So, fortunately thereby, we have expanded our hearing to the ever changing times." (Caio Campbell; Anglo-Brazilian semiologist and musician)

"Kafkaesque metamorphoses: atmospherics ascended to a new level, among notistic colors and epiphanies." (Pablo S. Paz; Argentinean musicologist)

&

I - What is Misophonia? Selective Sound Sensitivity Syndrome or SSSS or S4;

II - Remarks on Colour (German: Bemerkungen über die Farben) is a collection of notes by Ludwig Wittgenstein on Goethe's Theory of Colours. The work consists of Wittgenstein's reactions to Goethe's thinking, and an attempt to clarify the use of language about colour. Believing that philosophical puzzles about colour can only be resolved through attention to the involved language-games, Wittgenstein distinguishes between the science of optics, as developed by Newton, and Goethe's phenomenology of colour, remarking that: “Goethe's theory of the origin of the spectrum isn't a theory of its origin that has proved unsatisfactory; it is really not a theory at all. Nothing can be predicted by means of it. It is, rather, a vague schematic outline, of the sort we find in James's psychology. There is no experimentum crucis for Goethe's theory of colour.”

Remarks on Colour is generally considered a very difficult work, partially on account of its fragmentation. This was one of Wittgenstein's last works and was written during a visit to Vienna in 1950 and while he was dying of cancer in Cambridge the following year. His last remarks, which he wrote during the last months of his life, his last remark dating from but a few days before his death, are now known under the title On Certainty (German: Über Gewissheit). Although he was never really satisfied with his remarks on colour, his last work is considered to be one of his most clear and sparkling collection of remarks, inspired by G.E. Moore's insistence that he could prove the existence of the external world, dealing with the fundamental feuds between idealists (scepticists) and realists about what one can meaningfully say about the existence of the external world, starting from those assertions which Moore took to be undubitable like "I know, that this is a hand.";

III - "Tecendo a Manhã" ("Weaving the Morning") is a poem by the great Brazilian writer João Cabral de Melo Neto:

"Um galo sozinho não tece uma manhã:
ele precisará sempre de outros galos.
De um que apanhe esse grito que ele
e o lance a outro; de um outro galo
que apanhe o grito de um galo antes
e o lance a outro; e de outros galos
que com muitos outros galos se cruzem
os fios de sol de seus gritos de galo,
para que a manhã, desde uma teia tênue,
se vá tecendo, entre todos os galos.

E se encorpando em tela, entre todos,
se erguendo tenda, onde entrem todos,
se entretendendo para todos, no toldo
(a manhã) que plana livre de armação.
A manhã, toldo de um tecido tão aéreo
que, tecido, se eleva por si: luz balão."

Mr. Melgaço makes a poetical wordplay in Portuguese - not transplantable into English in its alliteration and phonetic. Verbatim, "Tomorrow (Amanhã) weaving (tecendo) the (a) Morning (Manhã).";

IV - João Cabral de Melo Neto (1920 – 1999) was a Brazilian poet and diplomat under the aesthetics of modernism. He was awarded the 1990 Camões Prize, the greatest literary prize in the Portuguese language, and the 1992 Neustadt International Prize for Literature.

...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.