fragments of reincarnation by Michiko Ogawa & Lucy Railton
The Berlin-based Harmonic Space Orchestra takes its name from a concept devised by the late James Tenney. He posited that harmony could be understood not as the limited, mathematically irrational system derived from equal temperament (your standard western tuning system), but a potentially infinite thing comprising mathematically rationale intervals. Its members meet weekly, and collaborate with each other on the development and realization of work made using just intonation and associated tuning systems. Fragments of Reincarnation, which was made by HSO colleagues Michiko Ogawa and Lucy Railton, investigates when different tuning systems coincide.
Both musicians are immigrants, who have found in Berlin a place where community and opportunity conspire to make it possible to get experimental work done. In Ogawa’s case, she has found the freedom to shift evolve from being a classical clarinetist into a more self-directed and less fixed musical identity. On this album she plays sho, a mouth organ traditionally used in Gagaku music, and a beat-up Hammond organ that was rescued gravestone-maker’s workshop and currently resides in her apartment. The long tones she plays on each throughout this peace require patience, precision, and responsiveness to outside influences, but not the virtuosity that a person who plays clarinet in a conventional orchestra must maintain if they want to keep their job. The sho, which was recorded first in performance with Railton, is tuned for Gagaku (a long-standing form of art music), and the Hammond, which was subsequently overdubbed, is in equal temperament modified by its mechanical decrepitude. Railton plays cello, which of course can be retuned as it is played.
The progress of the music is dictated by the duo’s intent to explore what happens when tunings are juxtaposed. Elaborate melodies are out of the question, since they’d just get in the way of the consonances and dissonances that result when sounds from different tunings manifest in the same space. The vibrations of sho and organ create a psychoactive sonic space that corresponds to Tenney’s conception of harmony. Said space is simultaneously evident and insubstantial, like air currents flowing over the listener’s head. Railton’s contributions arc through that space, refracting Ogawa’s long-held chords so that one’s attention will be drawn to the roiling eddies left in her wake. It’s a zone eminently suitable for zoning out.
This is the so-called “cursed dance” Saisourou. It’s... ugh, good Lord, the music accompaniment sounds so creepy it’s like a horror movie soundtrack. It makes the dance, which would’ve looked pretty normal otherwise, seem very very horrifying.
It doesn’t help that the costume is mostly white, and the mask has this deathly-pale look to it. It really looks like a ghost dance. Like, seeing this I could see why there’s all the legends about how if this was danced people would die. Either the dancer himself, or just... people involved (the musician, the audience, etc).
Man, Tsuneyama Kidan never said what the “unlucky dance” that made Hideyohi mad was, but I wouldn’t be surprised if Saisourou was it. I feel like nobody would want to see this in a celebratory banquet, it’s just gonna be really unpleasant.
Introducing Pixel Ponder Play: A Journey Through the World of Games, Digital Archaeology, and Literary Theory!
There’s something ethereal about beginning a new semester. Students are hyped up on a cocktail of overstimulated hormones and adrenaline, while educators and admin are bight-eyed and eager to practice their new curriculum. This will last a couple weeks before the novelty wears off and we begin realizing the gravity of of the position we’ve put ourselves in.
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Exploring Shinto, Japan's indigenous religion and its unique musical heritage of Gagaku
Shinto is an indigenous religion of Japan that dates back over a thousand years. It is a religion that emphasizes the worship of natural forces and spirits, and as such, it has a rich cultural heritage that includes music, dance, and other forms of artistic expression. One unique aspect of Shinto music is the slow dance music known as Gagaku.
Shinto is a religion that emphasizes the worship of…
Neo Archē explores new possibilities for ancient Japanese instruments only used in Gagaku ceremonial music (the shō mouth organ, the gaku-biwa lute, and the uchimono percussion set). We use the tuning, some melodic segments, and the modes of classical Gagaku, which often date back to almost a millennium, but with a contemporary sensibility, and a large part of our music is improvised. In Pearls…
Née sur l’ile d’Hokkaido et imprégnée de la culture aïnoue, Hatis Noit est un ovni vocal prodigieux et transcendant. Explorant toutes les manières possibles et imaginables de produire des sons avec sa bouche, elle use d’un registre sonore à l’étendue insoupçonnée pour à la fois figurer la beauté de la nature et incarner l’intensité d’une spiritualité magnifiquement humaine.
it's really funny how much my standards for historical accuracy have increased since i started posting fic. back in the far-off days of november 2021 i was like "yeah sure they go to a music festival. daft punk cameo why not" and now i'm like "if i slightly misrepresent the music performance culture of the sengoku period i WILL die"
Shishimai (獅子舞) from Kaibou Zukan (2022) by Osaka-based electronic producer Takahiro Kinoshita aka 99Letters, based around the sampling and processing of traditional Gagaku Japanese instruments. The sounds of koto and shakuhachi are transformed through spatial effects and noise to create beguiling ambient drones and out-and-out dancefloor bangers. The title Kaibou Zukan translates as “picture book” and it serves as a kind of audio diary of the artist during lockdown, trapped at home and thinking about their place within their home country, landscape, and culture.