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De Organographia - Music of the Ancient Sumerians, Egyptians and Greeks (1999)
Postado por Andre Carvalho em quinta-feira, 25 de outubro de 2018.


Greek Music from Egypt (from the Oxyrhynchus papyri) 

1. Musical excerpts, Anonymous (2nd c. A.D.) POxy. 4461, column ii, lines 1-9.
trichordon, syrinx monokalamos, yympanon, psithyra, kroupeza, krotala (small cymbals)

2. Lament, Anon. (2nd or 3rd c. A.D.) POxy. 4465.
autos paidikos, kithara, lyra

3. Fragment 1, Anonymous (2nd c. A.D.) POxy. 4462.
trichordon, kithara, autos parthenios, syrinx monokalamos, kroupeza, kymbala

4. Paean, Anonymous (3rd or 4th c. A.D.) POxy. 4466.
syrinx monokalamos, pandoura, lyra, kroupeza, krotala (small cymbals)

5. Trochaic fragment, Anon. (3rd c. A.D.) POxy. 3162.
autos teleios (double pipes)

6. Four settings of a line from "Epittepontes" by Menander Anonymous (3rd c. A.D.) POxy. 3705.
Four different examples of music for the same line of text are given.
Translation: "Of what area? What memor-"
voices, kithara, lyra, krotala (small cymbals)

7. Excerpts mentioning Eros and Aphrodite, Anon. (2nd or 3rd c. A.D.) POxy. 4463.
Fragments of three distinct compositions.
pandoura, bronze bell, psithyra, tympanon;
aulos hyperteleios, kithara;
syrinx monokalamos, barrel drum, kroupeza

8. Musical excerpt, Anonymous (3rd c. A.D.) POxy. 4467.
trichordon, pandoura, two kitharas

9. Hypolydian excerpt, Anonymous (2nd or 3rd c. AD) POxy. 4464, lines 3-8.
The plectrum is pressed on the string to obtain an accidental on the kithara.
kithara, echeia

10. Fragment 3, Anonymous (3rd c. A.D.) POxy. 3161 verso fr. 3.
bagpipe, tympanon, timbrel, kroupeza, krotala (small cymbals), hand-clapping, finger-snapping



Sumero-Babylonian Music 

11. A zaluzi to the gods (Hurrian Hymn 6), Anonymous, copied by Ammurabi (c. 1225 B.C.) R.S. 15.30 + 49, 17.387.
This nearly intact piece is preserved with the remains of 30 other hymns in the Hurrian language on a series of baked clay tablets found at Ugarit. Modern transcription of the Babylonian musical notation on these tablets is made possible through the discovery of several period musical texts that explain the terms used in the tuning of the lyre through seven diatonic modes. Several modern authors have offered interpretations of these terms, but disagree on certain key points. We have followed M. L. West's melodic interpretation (5). The Babylonian system does not include notation for rhythm. Text underlay is problematic since the text and music are written separately. There is almost a 2:1 ratio between the number of syllables and the number of notes, so, if the melody is repeated, the match of syllables to notes is fairly good with a few minor adjustments; on the tablet between the text and music there is a double dividing line with signs indicating a repeat of some kind. Present understanding of the Hurrian language is limited, thus making a complete translation impossible; it seems to be a hymn to the goddess Nikkal, wife of the moon god, with a few translatable phrases including "you love them in your heart" and "born of you".
voice, long-necked lute, asymmetrical lyre, bronze bell

12. Hurrian Hymns 19 and 23, Anonymous (c. 1225 B.C.) R.S. 19.149 and 18.282.
Two fragmentary hymns with parts of four and six lines of notation respectively. Here the first pitch of each notated interval is played along with the melody note at the beginning of each series of repetitions (see above).
asymmetrical lyre, long-necked lute, goblet drum, terracotta bell, clappers

13. Hurrian Hymns 13 and 12, Urḫiya/Anon., copied by Ipšali (c. 1225 B.C.) R.S. 19.164d and 19.147.
Hymn fragments with parts of two and four lines of notation respectively.
double reed pipes, goblet drum

14. Hurrian Hymn 2, Anonymous (c. 1225 B.C.) Fragmentary hymn with parts of twelve lines of notation. asymmetrical lyre, terracotta bell

15. Hurrian Hymn 8, by Urḫiya (c. 1225 B.C.) R.S. 19.84.
Fragmentary hymn to a goddess with parts of seven lines of musical notation.
three-holed vertical flute, asymmetrical lyre, two sistra, goblet drum

16. Hurrian Hymn 5, by Puḫiya(na) (c. 1225 B.C.) R.S. 14.18.
Fragmentary hymn with parts of five lines of notation.
asymmetrical lyre, goblet drum, terracotta bell

17. Hurrian Hymns 4, 21 and 22, Anonymous (c. 1225 B.C.) R.S. 14.15, 19.154 and 19.164c.
long-necked lute, harp, hourglass drum, clappers, bronze bell, sistrum

18. Hurrian Hymns 7 and 10, Anonymous (c. 1225 B.C.) R.S. 19.155 and 19.148.
Hymn 10 refers to the goddess Hebat.
asymmetrical lyre, hourglass drum

19. Hurrian Hymns 16 and 30, Anonymous (c. 1225 B.C.) R.S. 19.164a and 19.164b.
conch, harp, two-holed whistle

20. Musical Instructions for "Lipit-Ištar, King of Justice", Anonymous (c. 1950 B.C.)
N. 3354. Preserved on a clay tablet from Nippur are the instructions for the musical accompaniment to the hymn "Lipit-Ištar, King of Justice, Wisdom, and Learning", the text of which survives in several sources. This hymn is thought to date from the time of Lipit-Ištar's reign, making it the world's oldest surviving example of musical notation. Given are the starting note, two intervals that may indicate predominate notes of sections, and the mode (6).
asymmetrical lyre



Egyptian Music 

21. Trumpet call, Anonymous,
after the description given by Plutarch in Moralia (lst c. A.D.). Plutarch describes the manner in which the Egyptian trumpet was played: "But for them (the people of Busiris) even to hear a trumpet is a sin, because they think it sounds like the bray of an ass" and "The people of Busiris and Lycopolis do not use trumpets at all, because they make a sound like an ass; and altogether they regard the ass as an unclean animal". This instrument is capable of producing two effective pitches (approximately f#´´ and c´´) as well as a less stable fundamental (b flat). Since there is no mouthpiece in the modern sense, higher harmonics are extremely difficult to produce. Assuming that no more than two harmonics were sounded in normal use, Plutarch's remarks give us a basis for this call, taking the order of pitches and rhythm from the natural bray of the ass.
Egyptian trumpet

22. Isis sistrum rhythm, Anonymous,
after the description given by Lucius Apuleius in Metamorphoses (2nd c. A.D.). Apuleius described the rhythm performed on the sistrum at the apparition of the goddess Isis as a "triple shake of the arm". Hans Hickmann (7) interpreted this rhythm as three equal notes followed by a rest in order to separate each group of three. The participation of trumpeters is also described.
sistrum, 3 Egyptian trumpets

23. Theban banquet scene, Anonymous,
from a tomb painting found at Thebes (c. 14th c. B.C.) The painting depicts a scene of four rows of seated guests preparing to attend a banquet with guests on the left of each row displaying chironomy signs and instrumentalists on the right. The signs, indicated by the various inclinations of the guests' arms, apparently documents the rise and fall of the melody being played by the musicians (9). Rhythm and mode are conjectural; the scale used here is taken from an extant three-holed Egyptian vertical flute in playable condition.
long-necked lute, three-holed vertical flute, harp, hourglass drum, clappers, sistrum

24. Harp piece (A), Anonymous (7th or 6th c. B.C.) Brooklyn Museum 58.34.
This example of what is apparently musical notation survives on an Egyptian statuette now in the Brooklyn Museum (8). It consists of two figures, a harpist and what may be a musical director or chironomist (whose right arm is unfortunately missing): a tablet in front of the second figure displays a series of horizontal lines with short vertical strokes in a variety of positions relative to the lines. This would seem to be a graphic representation of the various inclinations of the arm of the chironomist indicating the rise and fall of the melody being played by the harpist (9). We have interpreted here the horizontal line as representing the lowest pitch of the melody; the height of a given stroke above the line indicates its relative intervallic distance above the lowest note. The smallest meaningful differences should indicate scale steps, since the melodic movement in the bulk of the ancient repertoire is predominantly stepwise. Rhythm and mode are unknown; the scale used here is taken from an extant three-holed Egyptian vertical flute in playable condition.
harp

25. Harp piece (B), Anonymous (7th or 6th c. B.C.)
The same piece as above (with somewhat altered tuning in agreement with the reed pipes), performed on a variety of common Egyptian instruments.
3 barrel drums, frame drum, clappers, double idioglottic reed pipes, harp, three-holed vertical flute, sistrum, menat, kymbala











 





Autechre ‎– Draft 7.30 (2003)
Postado por J.V. em sexta-feira, 21 de setembro de 2018.


Label:
Warp Records ‎– WARPCD111
Format:
CD, Album 
Country:
UK
Released:
07 Apr 2003
Genre:
Electronic
Style:
Leftfield, Abstract, IDM, Experimental


Tracklist

1Xylin Room6:09
2IV VV IV VV VIII4:50
36IE.CR5:38
4Tapr3:14
5Surripere11:23
6Theme Of Sudden Roundabout4:51
7VL AL 54:56
8P.:NTIL7:07
9V-Proc6:00
10Reniform Puls8:38

Companies, etc.

  • Phonographic Copyright (p) – Warp Records Limited
  • Copyright (c) – Warp Records Limited
  • Published By – Warp Music
  • Published By – EMI Music Publishing Ltd.

Credits

  • Illustration [Digital Images], Design – Alexander Rutterford
  • Mastered By – Noel Summerville
  • Producer – Ae
  • Written-By – Brown, Booth

Notes

The name Draft 7.30 supposedly derives from the album being the 30th edited version of their 7th album.

℗ 2003 Warp Records Ltd © 2003 Warp Records Ltd.
Published by Warp Music \ Electric And Musical Industries.
Made In England.

Issued in a standard jewel case with four stiff card inserts


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John Oswald ‎– Plexure (1993)
Postado por J.V. em sábado, 15 de setembro de 2018.


Label:
Avant ‎– AVAN 016, Avant ‎– AVAN016
Series:
Composer Series (3) –
Format:
CD, Album 
Country:
Japan
Released:
1993
Genre:
Electronic


Tracklist

Open(1:27)
1.1Suck
1.2Rip
Urge(1:46)
2.1Slow
2.2Slice
2.3Blink
Manifold(2:14)
3.1Philosophy
3.2Phase
Blur(1:10)
4.1Moment
4.2Wow
4.3Nest
Zoom(1:20)
5.1Alone
5.2Gogh
6Cypher1:44
Compact(1:39)
7.1Phase 2
7.2Snap
8Worse1:17
9Mad Mod1:27
Temperature(1:47)
10.1Tempus Amoré (Hyper Love Time)
10.2Tempo Pact
Massive(2:13)
11.1Hazzard
11.2Warning
11.3Treacherous
Velocity(1:11)
12.1Tremendous
12.2Tremulous

Companies, etc.

  • Produced At – Mystery Laboratory
  • Phonographic Copyright (p) – Disk Union
  • Copyright (c) – Disk Union

Credits

  • Design [Package Designed By] – Tomoyo T.L. (Karath=Razar)*
  • Engineer [Associate Engineer & Electroquote Tempo Coordinator] – Phil Strong
  • Executive-Producer – John Zorn
  • Executive-Producer [Associate] – Kazunori Sugiyama
  • Music By, Producer, Arranged By [Rearranged], Remix, Edited By, Mastered By, Engineer [Reproduced], Graphics – John Oswald

Notes

1 Open (Bo No Ma)
2 Urge (Marianne Faith No Morissey)
3 Manifold (Bing Stingspreen)
4 Blur (Bolton Chili Overdire)
5 Zoom (Sinéad O'Connick Jr.)
6 Cypher (Depeche Mould)
7 Compact (R.E.M.T.V. Hammercamp)
8 Worse (Anthrax Squeeze Factory)
9 Mad Mod (Jello Bellafonte)
10 Temperature (Beastie Shop Beach)
11 Massive (Ozzie Osmond)
12 Velocity (Aretha Vanilli)

Realized 1992-93 at Mystery Lab. 

Referentially acknowledging: Michael Snow (Wavelength), James Tenney (Viet Flakes), Marvin Green (Pause Tape #1), Andy Dowden (The Love Song).

Thanks to Holly Small, Phil Strong, John Zorn, Stephen Kroninger, Rocky Laporte, Christopher Butterfield, Bill Coleman and The Canada Council.

All music by John Oswald, Pitch (SOCAN).
(P)(C) 1993 Disk Union

PLEXURE represents the completed first stage of the pop phase of megaplundermorphonemiclonics.

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Black Dice ‎– Broken Ear Record (2005)
Postado por J.V. em quinta-feira, 9 de agosto de 2018.



Label:
DFA ‎– dfaemidj 2148 cd, EMI ‎– 0946 3 34541 2 5
Format:
CD, Album, Copy Protected 
Country:
UK
Released:
2005
Genre:
Electronic, Rock
Style:
Rhythmic Noise, Alternative Rock, Experimental


Tracklist

1Snarly Yow8:14
2Smiling Off9:23
3Heavy Manners4:12
4Aba0:56
5Street Dude7:07
6Twins2:04
7Motorcycle6:59

Companies, etc.

  • Phonographic Copyright (p) – DFA LLC
  • Copyright (c) – EMI Records Ltd.

Credits

  • Mastered By – Joe Lambert
  • Mixed By – Steve Revitte (tracks: 1 to 3, 6)
  • Recorded By – Steve Revitte
  • Recorded By [Additional], Mixed By [Additional] – Nicolas Vernhes

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Luigi Nono - Non Consumiamo Marx (1969)
Postado por Andre Carvalho em quinta-feira, 2 de agosto de 2018.
















Label: I Dischi Del Sole


Format: Vinyl, LP, Album 
Country: Italy
Genre: Electronic, Classical
Released: Jul 1969
Style: Musique Concrète, Contemporary






a) Un Volto, Del Mare
b) Non Consumiamo Marx





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Marc Ribot - Spiritual Unity (2005)
Postado por Andre Carvalho em terça-feira, 5 de junho de 2018.









Credits
Bass – Henry Grimes
Drums – Chad Taylor
Guitar, Producer – Marc Ribot
Trumpet – Roy Campbell




1. Invocation
2. Spirits
3. Truth Is Marching In
4. Saints
5. Bells







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Mauricio Kagel - Heterophonie, Improvisation Ajouteè (2001)
Postado por Andre Carvalho em domingo, 13 de maio de 2018.



Improvisation Ajouteè foi simplesmente a obra que inspirou John Zorn a ser John Zorn:



"Kagel, 'Improvisation Ajoutée'. Comprei esse quando tinha por volta de 15 anos. Me lembro que comprei num mês de setembro na Sam Goody, por 98 centavos. E é uma peça realmente alucinante, com uns caras gritando e piando, algo que me atraiu. Tinha ido até a casa de um amigo, ele gostava muito de Rolling Stones, e eu tinha acabado comprar o disco, coloquei pra tocar e ele me olhou com uma expressão.. 'que porra é essa? Tá louco?', e a mãe dele estava lá, com as mãos ao rotos com um expressão 'Meu Deus, tira isso...'. Foi naquele momento que decidi: isso é que é música."









Radio Sinfonie Orchester Frankfurt
-Michael Gilen
-Gerd Zacher




1-5 - Heterophonie (1968)
6 - Improvisation Ajouteè (1966) 



[Download - 320 kbps]



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