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Untitled Piece # 11 {Otac​í​lio Melga​ç​o} [duration 32​:​23]

by Otacílio Melgaço

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U n t i t l e d P i e c e # 1 1

O t a c í l i o M e l g a ç o

[duration 32:23] all rights reserved

Dedicated to Joyce Mansour

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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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"Otacílio Melgaço primarily brings together three layers of sound that make up an exciting uniqueness: successive performances acclimated in vintage (as well - vintage - would be a choice of metaphorical nature?) instruments + electronic backdrop + jazzy beats. The result reveals an extreme vivacity, as if we had entered into a sonic tunnel and at the end, there´s a light. Through it, as a direct result and yet so cathartic, perceive ourselves enlightened.

Apropos, the following words were spoken by Plato: ´We can easily forgive a child who is afraid of the dark; the real tragedy of life is when men are afraid of the light.´ With skill and creativity, Melgaço frees us of this tragedy, perennially." (Pablo S. Paz; Argentinean musicologist)

"´Time Magazine coined the term op art in 1964—in response to Julian Stanczak's show Optical Paintings at the Martha Jackson gallery—to mean a form of abstract art (specifically non-objective art) that uses optical illusions. Op art perhaps more closely derives from the constructivist practices of the Bauhaus. This German school, founded by Walter Gropius, stressed the relationship of form and function within a framework of analysis and rationality. Students learned to focus on the overall design or entire composition to present unified works. Op art also stems from Trompe-l'œil and Anamorphosis. Links with psychological research have also been made, particularly with Gestalt theory and Psychophysiology.´

Certainly the choice (Op art) for the cover of this album was not haphazard, the contrary. I say it, insightful, O.M. transfers these concepts to his music. Moving, high-sounding, between b&w and the color/coloratura. Op art is a perceptual experience related to how vision functions. It is a dynamic visual art that stems from a discordant figure-ground relationship that puts the two planes—foreground and background—in a tense and contradictory juxtaposition. Such is, decoded sonically, the structure of this volcanic composition. Concomitantly there are three major classes of the interaction of color: simultaneous contrast, successive contrast, and reverse contrast (or assimilation). Another perspective also under Melgacian approach.

[Triple subtlety: 1- We stare the cover image through a hole, as if each were a voyeur. I suppose some quaint eclipse between that and the Duchamp's Étant donnés, by the way; 2- Perform interactions with it since 2.1- keeping your eyes unblinking ... until 2.2- moving your head up, down, sideways, forward, backward ... while generating a kinetic intimacy with the cover; 3- Also there´s a correlation speculative & reflexive in the specific chronological duration > 32:23 <]

In short, Otacílio is among Goethe, Getulio Alviani and Richard Anuszkiewicz. The lines create after-images of certain colors due to how the retina receives and processes light. Goethe demonstrates in his treatise Theory of Colours, at the edge where light and dark meet, color arises because lightness and darkness are the two central properties in the creation of color. Getulio Alviani used aluminum surfaces, which he treated to create light patterns that change as the watcher moves (vibrating texture surfaces). Often, colorist work is dominated by the same concerns of figure-ground movement, but they have the added element of contrasting colors that produce different effects on the eye. For instance, in Anuszkiewicz's ´temple´ paintings, the juxtaposition of two highly contrasting colors provokes a sense of depth in illusionistic three-dimensional space so that it appears as if the architectural shape is invading the viewer's space.

After this optical elucidation, I propose a very constructive challenge. I'd rather not discuss in more detail about this captivating parallel - using the jargon of the musical universe -, because it will be more interesting invite you to live a direct listening experience. Before
´Untitled Piece # 11´, hear this frantic creation but simultaneously (epistemologically or intuitively) try to s-e-e the Music now!" (Caio Campbell; Anglo-Brazilian semiologist and musician)

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I - Op art, also known as optical art, is a style of visual art that uses optical illusions. Op art works are abstract, with many better known pieces in black and white. Typically, they give the viewer the impression of movement, hidden images, flashing and vibrating patterns, or of swelling or warping. The antecedents of Op art in terms of graphic and color effects can be traced back to Neo-impressionism, Cubism, Futurism, Constructivism and Dada;

II - Vintage musical equipment is older music gear, including instruments, amplifiers and effects pedals, usually sought after, maintained and used by avid collectors or musicians. While any piece of equipment of sufficient age can be considered vintage, the term is typically applied to instruments and gear either known for their sound quality, rarity, or some unusual aspect.

III - Joyce Mansour (1928 – 1986) was an Egyptian-French author, notable as a Surrealist poet. She was born Joyce Patricia Adès, in Bowden, England, to Jewish-Egyptian parents. She lived in Cairo, where she first came in contact with Parisian surrealism, and then moved to Paris in 1953 where she became the best known Surrealist female poet, author of 16 books of poetry, as well as a number of important prose and theatre pieces. In 1947, her first marriage at the age of 19 ended after six months when her husband died of an incurable disease. Her second marriage was to Samir Mansour in 1949. They then divided their time between Cairo and Paris. Joyce Mansour began to write in French.

...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 April 4, 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}

Estúdio Yoknapotawpha/BR

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Otacílio Melgaço Belo Horizonte, Brazil

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